Abstract

Feng Xiaogang (b.1958) is one of China’s most distinctive and influential film directors, known for his substantial contribution to the genre of comedy in China. As a unique figure among the fifth- and sixth-generation Chinese directors, Feng has expanded his influence internationally. Beginning his career as a drama director and scriptwriter for television, Feng’s sensibilities are finely attuned to contemporary Chinese popular culture. This is evident in his New Year comedies and socially conscious films, which reflect the urban sentiments of a rapidly globalizing China. Feng has used comedy as a strategic tool to critique and navigate political and economic pressures. However, comedy often does not translate well across cultures, which partially explains his limited international success. Nevertheless, his films offer a case study of deeper and more genuine cultural exchange. Among Feng’s body of work, Big Shot’s Funeral (2001) exemplifies how local elements can intersect with global aspects. This film merges elements of his New Year comedies with a global perspective, making it a prime example of how culturally specific humor can be analyzed for cross-cultural translation without resorting to slapstick. A close textual analysis of the film will explore its meta-cinematic structure, its distinct quality of absurdity, and its use of parody, satire, and humor. This analysis will consider the film’s comic elements within the context of Chinese cultural traditions and argue that Feng’s films offer an alternative model for cross-cultural cinema that avoids cultural stereotyping in favor of presenting a richer, more complex view.