While classical Hollywood biopics often featured “self-made individuals” who undergo trials “that set the extraordinary individual off from his or her peers”, “contemporary bio-pics from Hong Kong portray the great and the good trying, but failing, to take hold of a situation that is beyond their control” - reflecting the general mood within the political context of that era (Stringer, 1997). Centre Stage, by focusing on Ruan Lingyu, draws a parallel between “1930s Shanghai and 1990s Hong Kong”, both of which are “clearly contrasted as modern, cosmopolitan cities that suffer invasion by an occupying force (the Japanese and Communists, respectively)” (Stringer, 1997). The “absence of the lost films” that Ruan originally performed in also “provides a space within which” Kwan’s idealized imagination of Shanghai with a “Hong Kong subjectivity can be inserted” (Stringer, 1997). This sense of identification with and nostalgia for the selectively constructed Shanghai is especially evident in the film with how “the “1930s” is filmed in color while the “1990s” is in black and white, suggesting that the past is more colorful and desirable”…