Hongkong action movies: a transnational genre

Discuss action cinema as national and transnational genre in relation Snake in the Eagleas Shadow (Yuen Woo-Ping, 1978), Rush Hour (Brett Ratner, 1998) and Kung Fu Hustle (Stephen Chow, 2004).

How have different national contexts of production utilized generic conventions and chronotopic motifs of the action genre in different and nationally/culturally specific ways? How has the practice of transnational coproduction, and transnational stars (i.e. Jackie Chan), complicated these specificities? What effect has this multiplicity of cinematic practices had on the action genre?

please base the essay on the two attached readings