? or Bust China

by Piano Ho and Jasmin Wong

melancholy melody plays in a For the film-makers, it is not a hard average of around 10 films were made darkened cinema as the film decision to make, with one of the world’s as co-productions. Adraws to a close, the lyrics largest film production markets right To revive Kong’s film industry, of the theme song say this is a “story on the doorstep. China is currently the co-productions were further boosted seldom told”. As the lights go back on, third largest film production country in when the Closer Economic Partnership members of the audience can be seen the world, according to Zhou Tiedong, Arrangement (CEPA) between Hong dabbing their eyes. For the past two president of China Film Promotion Kong and the mainland was introduced hours, they have laughed and cried over International. Last year alone, 664 films in 2003. The number of co-productions the scenes on the screen. Together, they were produced in ; tripled to 31 the following year. have re-lived or imagined memories of could only manage 70. Through co-productions with a bygone Hong Kong recreated by local The 1980s were the golden years mainland partners or making films director Alex Law Kai-yui in his prize- for the Hong Kong film industry. catering to the tastes of mainland winning hit Echoes of the Rainbow. Local filmmakers were able to audiences, some Hong Kong The film is one of the few produce distinctly Hong Kong movies filmmakers are able to cash in on the productions in recent years that which had a huge market in Chinese swelling mainland box office receipts. appeals to directly to the local audience communities overseas and also found The gross box office takings last with its strong Hong Kong flavour. a loyal following in the non-Chinese year was 6.2 billion yuan, of which Law conjures up the world of 1960s speaking world. Hong Kong was more than 10 per cent was made by industrial Hong Kong, the world of crowned the “Hollywood of the Orient” four Hong Kong films, namely Red small characters surviving hardships and the films of the time displayed the Cliff II, Bodyguards and Assassins, with an invincible spirit - you could lives of common people and aspects Look for a Star and On His Majesty’s call it the Hong Kong spirit. of Hong Kong popular culture with Secret Service. This runs counter to the increasing recognisable wit. Take Red Cliff II as an example. number of films targeting the swelling Those days are gone. The local film While it ranked second in the local box Chinese market by catering to the tastes of industry started to decline in the 1990s office and earned around HK$20 million mainland audiences. The trend now is for and faced with a lack of investment, locally, it made 13 times more money many of these films to be co-productions filmmakers began to partner with in mainland cinemas, where receipts made with mainland partners. mainland producers. Every year, an reached 260 million yuan. periscope 24 Varsity mainland actors, and the film can can film the and actors, mainland by played be to have not do film a in characters main the - years recent in relaxed been have regulations co-productions on the investment, foreign Tomore creativity. attract filmmaker’s jokes. he about Kong!” of Hong all is out story the when Mandarin nowhere speaks and other the speaks them of one come how corner, street a on smoke chat and men two which in it. scene a about In think “Just Kong. Hong in based is itself story the when film a in it players mainland cast to says hard be could actor, and producer director, have mainland. the from be to films co-produced in actors the of one-third that the requires However, arrangement partnership distribution. in films state-produced of privileges the enjoy films co-produced and Kong Hong in produced films on set quota import no For Kong there is instance, filmmakers. when there. films their take they problems into run Kong filmmakers Hong promise, much so holds cultural identity. identity. cultural our to contributors important are H says Pui-li Lam Perry Such requirements could hinder a hinder could requirements Such local a Man-chak, To Chapman Hong to privileges offers CEPA market mainland the although But MAY 2010 ISSUE 116

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. Chan yuet Chan extinguish.” will from, comes film every that something cultural identity and the ability to express epd o hp te utrl identity cultural the shape to helped Kong people couldunderstand. Hong only that knowledge”, “insider the or colour, native with filled were films city.Their their in pride of sense a citizens. felt generally filmmakers then, Kong Back Hong as themselves regarded and China disassociate from themselves to Hong tended when people 1980s,Kong the to different very is It history. Chinese with Kong Hong link to attempt an in films, their in events historical Chinese portray to keener grown have filmmakers in 1997, China to Kong Hong of handover days.even colonial British during patriotic were people Kong Hong that asserting in reality the reflect not does film the says Lam audience, mainland 1905. in people Kong Hong of roles through is patriotic the colony illustrating and British a China longer of no part become Kong has Hong that fact the establish aims to film the says that explains China,” He Lam. to allegiance pledges stay. his lives Sunduring protect to their risking revolutionaries unarmed Kong Hong featured mainly film The China. across societies revolutionary ofthe ofbranches leaders with strategy discuss to meeting one-hour a for was to trip The 1905. trip in Kong Hong colonial brief very Yat-sen’s Sun Dr illustrating event historical a on based In this way, films revealed and and revealed films way, this In the after that explains Lam the with popular was it Though It act. patriotic a is film “The Assassins and Bodyguards

is 28th 28th Hong Kong AwardsFilm last year, best the awardfor newdirector awarded was Kwok who Derek Chi-kin, mainland, the to films their take they when restrictions face extinguished,” be hesayswill creativity,from, comes film every that something to their ability themselves, the express and identity cultural Hong to unique Kong.”freedom of sense a encompasses it because It’s Express Chungking Kar-wai’s Wong think they do “Why Kong,”Hongsays.belongs to that Lam something them, in distinctiveness and values Kong’s Hong of something see they because movies, its through Kong Kong Hong internationally. films of success the of proof further is Festival, Film Cannes the at director best for prize the of winner Kar-wai,a Wong director Kong Acclaimed Hong market. international the enter to films Kong Hong for way the and of trademark Hong Kong and paved specialty a world as movies the map on on genre fu kung put performances he screen, silver the fu his kung With stunning Lee. Bruce legend, Kong outside city. the be could films Kong Hong noticeable how and successful determined turn, in This, city. our saw world the ways the and perspective the changed also they ofjustmore than local society; a mirror were they But, people. Kong Hong of Although Hong Kong filmmakers filmmakers Kong Hong Although their lose filmmakers our “If Hong understands world “The Hong of example the cites Lam

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themselves, their creativity, ietr n h 18th the in director audience,” Kwok quality the says. people are actually “Mainland persona. prefer who show where the a directors strong films investors mainland are are not films always the best hits. There you for who you really are. Commercial setbacks. as co-production their of view,restrictions overcome the at looking and biases his should In their filmmakers says. with Kwok on bosses,” compromise to had they that things were there today, do they than production film more in freedom relatively enjoyed filmmakers ideas. for their fight and on insist should believes they after all. all. after rainbow the over skies blue are there hoping are filmmakers Kong’s Hong retold? be story same the Can China. northern towards heading now is story Kong Hong distinctly A told. seldom himself.” out figure should filmmaker our professional a something of is film good a making us while rules the by play to deprive “How says. he creativity,” to intends films. make more to are chances there more because gain can experience new two filmmakers This means day. every average, there open so on of cinemas are that, market demands big film the mainland out the filmmakers. a points to He offers opportunity also good co-production films, well police and believes his 1999 for in known Awards Film n smtms epe a love can people sometimes And when days old the in “Even cos f h Rainbow the of Echoes never market mainland “The best the Chiu-yin, Lam Dante MAY 2010 ISSUE 116

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