sign in sign up
<<
Home , Athena Chu, A Simple Life, Cageman, Chungking Express, Days of Being Wild, Deanie Ip

F5 IES Product P a g e | 1

School: Liberal Studies (2013-2014)

IES Title: Development of local film industry over past 40 years.

Focus Questions: 1) What are the unique characteristics of local films that engage Kong people in the over past 30 years?

2) Comparing between Hollywood and local movie, what is the acceptance level of local people towards them?

3) What reasons may lead to the declination of local film industry?

4) How can different stakeholders help to maintain the development of local film industry?

Name: Class: Class No.:

Supervising Teacher: Date of Submission: F5 IES Product P a g e | 2

Section I: Table of Contents

Section I Table of contents Page 2

Section II Background Information Page 3

Section III Enquiry Method Page 4

Section IV Findings and Discussion Page 5-35

Section V Conclusion and Recommendation Page 36

Section VI: Reflection Page 37

Section VII: Bibliography Page 38

Section VIII: Appendix Page 39

F5 IES Product P a g e | 3

Section III: Background Information

Film is an ingrained industry and one of the popular cultures in Hong Kong. Producing a movie is not similar to write a novel. Writing is a personal job but a movie production includes assortment of techniques and also about a group of team work. It gathers the painstaking effort of tones of people meanwhile conveys inspiration to the audience and gives them a whale of a time.

In 80s, the thriving of film industry, the variety of the topic were very wide and there were electrifying and astonishing products invariably. Association is established in that time too. It does not only aim to herald the outstanding crews but also an opportunity to reflect for their further development. For the past 30 years, this annual award had long called the upmost grand occasion in Asia and also has witnessed the vicissitudes of the local film industry. Nevertheless, it starts decline and see no improvement in this time and age. Someone sighs and even finds this is the end of the film industry. What internality and externality cause this? Does the government policy provide ample resources to preserve local culture though film industry?

F5 IES Product P a g e | 4

Section IV: Enquiry Method

1) Content analysis of movies: First the target types of movies are set. As it is impossible to watch all assortment of movies, countless movies are divided into different groups, with reference to experts’ opinion and only the classic works will be watched. Different characteristics and hint for impact and improvement are analyzed afterwards.

2) Second hand information (Books and Internet) Lots of passages related to Hong Kong film industry are collected. Then they will be put to different categories based on which focus question they are related. As a result, rich information is gotten for my study.

The above methods are the easiest to achieve and the range of information is wide and objective. However, the quality may drops as there does not have relevant information concerning the forecast of the development of Hong Kong film industry. The second hand data collected also may not perfectly suit the question. It will mislead me to shift the focus on analyzing one or two particular movies.

3) Interview/Questionnaires Over ten questions related to my focus questions are set. Questionnaires will be distributed by the Internet and done by the adolescents around my age. A local movie expert and a super fan will be found and give their opinion for answering my focus questions as well as guiding my study. The data collected by the interview is deeper and can help more in analyzing the question and search for further discussion. Although interview is so effective to collect large amount of suitable first hand data, it costs lots of time and effort. Besides, interviewee may provide one-sided opinion owning to his personal or subjective stance which possibly leads to a biased discussion.

Some limitations of my methods are glaringly obvious. The second hand data maybe too interpersonal while the analysis and interview or questionnaires part maybe too intrapersonal. I need to strike a balance. Besides making my own judgment opinions from others, such as the two professional interviewees would be as reference. Due to the time limit, source of data could be only found as much as possible. Nevertheless, the data source for my study will be still representative enough to support my study.

Appropriate time required for different stages if the project is about: - Library, movies and internet searches 4 weeks - Questionnaires .2 weeks - Interviews 2 weeks - Data analysis and discussion 1 week - Writing-up the final report 3 weeks TOTAL . . Around 12 weeks (3 months)

F5 IES Product P a g e | 5

Section V: Findings and Discussion

1) What are the unique characteristics of local films that engage Hong Kong people in the over past 30 years?

“The places where have ethnic Chinese will find the footprint of Hong Kong Film” It was the pioneer or representative of Chinese films and had been exposing under the spotlight for a long time. No matter on the quantity, quality, box-office income and the artistic value, our local film has done an astonishing job. A large-scale of industry was formed and it now still ranks in the second place of the global film industry, just lag behind America. What are the unique fascinations of local films that attract general public in the over past 30 years?

F5 IES Product P a g e | 6

F5 IES Product P a g e | 7

Figure 1.1

From figure 1.1, local films do have a function of resonance on the screenplay. The interviewees may not think the characteristics above are in line with the local films nowadays in a large extent. However, there are some outstanding blockbusters before or even in this time and age invariably. The fact of the thriving of local film industry is undeniable. What are the unique characteristics of local films that keep engaging general public? (朱茵), a renowned actress, expressed her own viewpoints on local films in a RTHK programme – HKFILM100 (香港電影 100 年), “The most unique characteristics of local film is that I can watch a story in a familiar environment, culture, memories and the living style of different people. All of them are very amiable.” Indeed, in line with the survey result shown in figure 1.1, collective memories/local culture is the most significant characteristic that resonating people. Starting from 70s, local film industry is thriving in an astonishing speed and tones of remarkable pieces are published every decade. In the following, different films’ essential characteristics from different decades will be analyzed.

70s

70s is the starting point of native local film industry. “There is no in Hong Kong movies when I was in childhood. All I can listen to is Putonghua,” said by (陳厼辛), a renowned local film director in a RTHK programme – HKFILM100, “The very first film that I could hear my mother language in cinema is House of 72 Tenants (七十亇家房客 ). It acted as a cornerstone of native local film industry. It was really electrifying that everything in your daily life could actually appear on the big screen.” This film frankly played a role model and be a reference for the following development of local film industry. It opened a new market of situation comedy as well as sarcasm of current malpractice. Lots of complaints towards the corruptive air of government were presented ironically. There was a dialogue complaining that government always had a low working efficiency on policy making but they collected tax payment in a flash. This is even the root of the deterioration in Hong Kong nowadays. Script writer used a relaxing tone to make fun of the serious unjust social affairs. It succeeded to attract a large market of audience. The unique characteristics of local film in 70s are defined. Movies, Games Gamblers Play (鬼馬雙星) and The Private Eyes (半斤八兩) were following the trend. A pair of bother, (許 冠文) and Samuel Hui (許冠傑) had started the market of reasonless humour (無厘頭文化) in local film F5 IES Product P a g e | 8 industry.

At the same time, Bruce Lee (李小龍), a legend of international martial arts actor, was invited to be the main character of a Kung-Fu movie, The Big Boss (唐山Օ兄) by Hong Kong Golden Harvest Entertainment Limited. The success of his movies, Fist of Fury (精武門), Way of the Dragon (猛龍過江 ), Enter the Dragon (龍爭虎鬥 ), The Game of Death (死亡遊戲) had sprung up an atmosphere of Chinese Kung-Fu, traditional martial arts. Hong Kong people, even the whole globe, were engaged by this household custom through the gripping visual action on the big screen. It was also the first step that leading local films out of Asia, towards the whole world. Everyone enjoyed learning Kung-Fu, watching Kung-Fu movies as their entertainment.

The hybrid of the above characteristics, reasonless humour and Kung-Fu, appeared later on. (成龍)’s Snake in the Eagle's Shadow (蛇形刁手 ) and (醉拳) were the representatives.

80s

In 80s, was undergoing “Reform & Opening up” and on the other hand, the whole Hong Kong society was feeling panic and powerless about the future of transfer of sovereignty over Hong Kong between British and China. A series of native films were appearing in order to express general public’s mutual emotion and ideology. Taking Long Arm of The Law (省港旗兵) as an example, it emphasized the disparity between Hong Kong and mainland on economic and social aspect. In the movie, those retired army from mainland came to Hong Kong for robbery. They were always in the struggle to leave (return to china) or stay. The feeling of transient and the sense of temporary of Hong Kong was again recalled. The “flag army” refers to the Red Army in the Cultural Revolution which did not exist anymore. Such juxtaposition of the negative terms (in view of the Hong Kong people) deliberately seeks to arouse and reinforce our repulsive emotions towards China. The Cantonese word 省港旗兵 was wildly used at that time for mocking at the mainland criminals in Hong Kong. It also used to describe the dishonorable mainlanders who came to undermine Hong Kong. Another movie, Her Fatal Ways (表姐，妳好嘢＜ ) used the method of black humorous to present the fear and confusion of Hong Kong people after the June Forth incident in 1989. There is a dialogue that someone claimed, “Our party is very tolerant. You no need to fight for democracy. We will just give you. How much do you need? Tell us.” A strong overtone of discontent had shown towards Chinese suppression on democracy. Sensitive political issue and social conflicts between mainland and Hong Kong were disclosed. The movie, It's a Mad, Mad, Mad World (寓 賁違予) were in line with the above connotations as well. The another reason of its popularity was the reality description of low-class Hong Kong general public, such as squeezing in MTR, gambling, working from dawn till the crack of dusk. The deep thought of people for getting rich was totally reflected. Some hit social issue at that time were put in the movie too, such as bank run, falling objects from height, trend of emigration etc. The theme in all the above movies did resonate Hong Kong people as they all were facing the same problem and sharing the same emotion. The materials from their daily life drove those F5 IES Product P a g e | 9 movies succeeded.

Chinese traditional mysterious culture had started to shown in cinema later on. Some beliefs of ghost and occult from Liaozhai Zhiyi (聊齋誌異), a classical collection of Chinese supernatural tales had been re-promoted through brand new visual effect and artistic camera movement. Mr. Vampire (殭屍先生 ), (倩Ֆ幽魂 ) and Rouge (胭脂我 ) were the representatives. Not only did they suffice the cognitive desire of Hong Kong people towards the out-of-bounds area of those beliefs, the movies successfully brought a new definition of ‘ghost”. In Rouge (胭脂我), it overthrew the ingrained idea of terrible ghost, like ghosts could appear under sun light and they ate food just through smelling. Ghosts could become so beautiful in that movie as well. The main reason attracting general public was they could find surprise in the household rumour.

Movies that reflecting the microcosm of the realistic society had been produced. One of the types is crime action film. Better Tomorrow (英雄本色), Police Story (警察故事), The Killer(喋血雙雄), City on Fire (龍虎風雲), Prison on Fire (監獄風雲) and As Tears Go By (旺角卡門 ) were the most popular ones. They were actually describing an abnormal living style of some Hong Kong people, especially the household characters around us but we does not acquaint with them so well. The unique stories of gangsters’ brotherhood, police’s aspiration and the triad’s loyalty were fascinating the general public. It had built the backbone of fame of local film industry across the globe. In addition, the success of (英雄本色 ) had driven the craze of Hong Kong people. Everyone was imitating the outlook of the main character Mark, acted by Chow Yun Fat (周潤發). The theme song of Police Story (警察故事), 硬漢՗ is still using in Police Magazine, a RTHK programme as its theme song for representing the passion of Hong Kong police.

90s

In 90s, Hong Kong motion picture rating system had been introduced for few years. Movies of “Level Three: Persons Aged 18 and Above Only” were springing up rapidly. Nearly half of the film productions at that period were at level three. The Untold Story (八仙飯店之予肉叉燒飽 ), Taxi Hunter (的圠判宙 ) and Sex & Zen (玉蒲團之偵情寶鑑 ) were the examples.

On the other hand, a series of reasonless humour (無厘頭文化) movies acted by (周星 馳) were getting more and more popular. Hong Kong was in an era of prosperity. Everyone was too busy to work hard but it led to their paucity of entertainment. These movies could actually release their daily pressure and alleviate their discontent towards the cruel realistic society. Everyone was imitating the dialogue of Stephen and this trend is even continuing in this time and age. It is really far-reaching. Louis Cha (金庸), a renowned author of Chinese martial hero fiction, commented of Stephen’s movies, “His movies are not all about laughter. Morals of life lie between the silly talk.” The movies always used an exaggerating and amusing presentation to mock at some distorted social phenomena. Most of the plots were taken from our daily life. Tears therefor were always found in their laughter as well. F5 IES Product P a g e | 10

Another movie type that reflecting the microcosm of a realistic society had been produced as well. The focus was put on the normal daily life surrounding the general public instead. The orient of the topic materials must not be unfamiliar to many people. (阿颩正傳) could be said as the pioneer of the chick flick (文藝片). The screenplay was avant-garde and not so favourable at that time. But it did lead the mass production of different classic movies. C'est la vie, mon chéri (新不了情), Summer Snow (Ֆ予四十), Happy Together (春光乍洩 ), Comrades: Almost a Love Story (甜蜜蜜) and Made in Hong Kong (香港製造 ) hit the big time. The fine observation of our people and environment drew a lot of attention. Touching was their selling point.

Some ingrained society issue in this era of prosperity had been reflected on big screen. (籠民 ) was complaining about the housing policy in Hong Kong. This modernized city always neglected the large disparity between rich and poor and the suffering of low-class people. This plight is still happening nowadays. Hong Kong does have a high international status on the surface but there is much dirt inside. It described the reality and the deep thought of general public in detail. (重慶森林) was another example. In Hong Kong this concrete jungle with a high dense population, people were actually lonely and loved to live in their own world. Although technology brought a greater convenience on interpersonal communication, people’s distance tended to be more and more far away.

A series of movies about Chinese legendary martial arts were appearing after the success of Wong Fei Hung filmography (黃颩鴻系列電影 ). Lot of classic fiction and comics had been used as basis for re-producing to movies, such as the series by Louis Cha (金庸) and Fung Wan (風雲). In The Storm Riders (風雲：雄霸天下 ), state-of-the-art visual effect technology was used. Seldom had the audience got in touch with this brand-new sense stimulation. This marks a significant step towards a large scale production of local film industry.

Crime action film was still popular. Not only was the audience attracted by the abnormal life of those household characters, some new electrifying elements had been added. Big Bullet (衝鋒隊怒火街頭 ) ‘s special effect level was even comparable with the Hollywood blockbuster at that time. Scene of explosion was really astonishing. Director also well coped with the pulse and presentation method. In spite of normal crime action film before, Running Out of Time (斱戰) did not have so many gun battles, killing and explosion scenes. It was more like a detective game. An encounter of wits was presented. Audience was totally engaged.

The trend of crime action film swiftly swept to the aspect of gambling and teen age respectively. A series of gambler movies were appearing after the remarkable success of God of Gamblers (賭神). Besides, in order to suffice of adolescents’ market, a series of Young and Dangerous (厽惑仔) had been produced to create their own powerful “heroes”. The triad lifestyle impressed the youngsters and it did create a negative air of young crimes frankly. Teenagers enjoyed the sense of belonging in an enormous group that always offering back-up with a high authority. F5 IES Product P a g e | 11

In the light of the above analysis, many parallels between the films and the social condition of Hong Kong are found. That is the unique characteristics of local film industry that attract general public in the past 30 years. The instant response of movies to the unprecedented historical situation and the ever-changing cultural geography in Hong Kong has driven the thriving of local film industry from 1970s-90s. Hong Kong filmmaker is able to develop and adopt new kinds of cultural strategies in respond to the cultural changes, meanwhile never go too far to exceed the necessary concern - the market. (徐克 ), a renowned local filmmaker, shared his experience in his “transition of 1997”, “Since the emergence of the 1997 issue, the pessimistic view has overshadowed the whole cultural scene. At first my reaction was also very confused and frustrated, feeling it's just like the end of the world. Finally in mid-80s I feel the need to change. If it is the end of the world, it is also the age of creation. Why then we don't employ the spirit of creation to face the end of the world? Our works could be more alive and intensive.” Indeed, a great applause should be given our enthusiastic local filmmaker for their contribution to the success of local film industry. Alfred Cheung (張堅庭), a renowned local film director and script writer, said that the material of films always come from our daily lives, but the connotations behind always inspire our own lives. That is the spirit of local films.

F5 IES Product P a g e | 12

2) Comparing between Hollywood and local movie, what is the acceptance level of local people towards them?

Figure 2.1 From figure 2.1, most of Hong Kong citizens have the habit to watch movie constantly. 31% (50/162) of the interviewees watch 12-23 movies per year. It shows that most of them have a clear notion towards film industry, and seen in this light, their appraisal is justifiable with basis.

The Hollywood movie cyclone is sweeping across the world?

Figure 2.2 From figure 2.2, over 85% (139/162) of the interviewees prefer Hollywood movie more than local’s. Only 14% of them would like to choose to watch a local movie. The Hollywood movie cyclone is sweeping across the world unquestionably. But why people would make that choice? What divergences are between them? F5 IES Product P a g e | 13

Figure 2.3.1 From figure 2.3.1, the Hong Kong top 20 highest-grossing films in history are nearly all from Hollywood. Only 4 local films are on the list but none of them are new in store. The latest ones were the movies by Stephen Chow (周星馳), a famous comedian in Hong Kong in 2001 and 2004. It was 10 years ago! So what achievement did local film industry made in the pass 10 years? This situation is worrying.

F5 IES Product P a g e | 14

Figure 2.3.2 From figure 2.3.2, if the category is narrowed down to Chinese-language only, the highest-grossing films are nearly all from 80s-90s. The local films in recent 10 years are barely found on the list.

Figure 2.3.3 From figure 2.3.3, all animated films are from Hollywood. The market for children is actually rigged. Local film companies are no longer producing animated film. All impression Hong Kongers have about them are McDull (麥兜) and Old Master Q (老太՗ ) long time ago.

F5 IES Product P a g e | 15

Figure 2.3.4

Figure 2.3.5

Figure 2.3.6 F5 IES Product P a g e | 16

Figure 2.3.7 Look back to the latest source, according to the film information preview 2012 by Hong Kong Film Industry Council, we can see the share of local film keep decreasing year by year while the foreign movies on show in Honk Kong keep increasing. Only 14% of them are local film (42/310) in 2013. The box-office is achieving a more considerable income year by year but most of this work is done by the foreign movies. In 2012, the box-office income of local films were HKD $346,686,031, shared 22.2% of the whole income while the foreign ones acquired HKD $ 1,212,551,835, shared77.8%. The most popular movie on show in Hong Kong is the 3D Hollywood blockbuster - The Avengers (復仇者聯盟), has cumulated box-office income of HKD $96,705,670 within 129 days. In the ranking of the top 10, only one of the local film is on the list (6th) – Cold War 2012 (寒戰) with the income of HKD $42,800,530. The whole Hong Kong film market is dominated by the Hollywood movies. This is an undoubtedly fact that is clearly shown by the objective number on the source above. People in Hong Kong are no longer watching a Hong Kong film in a Hong Kong cinema, how ironic is it?

F5 IES Product P a g e | 17

Figure 2.4 From figure 2.4, all elements of filmmaking are listed out. Hollywood movies have done a greater job in all aspects according to the survey. It is a landslide victory. The core reason of their success is relying on their high cost of production. Taking Avatar (阿凡達 ) as an example, around USD $295 million was spent on filmmaking and USD $150 million was spent on promotion. Comparing to the normal local films, only around HKD $6-8 million was spent on the whole production. The result had been clearly distinguished even before the movies on show. The effort they spent may not directly proportional to the money they invested but it actually gave audience an impression anyway. Audience is the one who determinates the success of your movie. If the scale of your movie production is small, it decreases their preference to pay and watch the movies indeed. Visual enjoyment is always their first priority in a movie. F5 IES Product P a g e | 18

That is why Avatar could have box-office income of USD $2 billion as well. In 33th Hong Kong Film Award held in last month, The Grandmaster (一代宗師 ) won the grand slam, including “Best Cinematography”, “Best Film Editing”, “Best Original Film Score”, “Best Sound Design” and the nomination of “Best Visual Effects”. All of these items are in charged by the renowned Hollywood production crew. This proved that how the cost you spent is related to the quality and reputation of your movie. “Best film” of the year is well deserved of course.

F5 IES Product P a g e | 19

3) What reasons may lead to the declination of Hong Kong local film industry?

Figure 3.1

From figure 3.1, it shows that local movies are not so favourable to the general public in this time and age. More than half (89/161) of the interviewees seldom get in touch with local movies. Only less than 4 times do they watch a local movie per year. The largest proportion is even less than 20%. (29/161). People who watch a local movie regularly 1-2 times per month are rare. Subjective feeling of people is quite negative towards local movies.

According to the News Investment programme (新聞調查) – Hong Kong film industry : Up to the North (香港電影 : 北上 北上 ) by CCTV-13News, there were 60 million audience watching Hong Kong movies all over world in 1985. However, 10 years later, half of the audience had decreased. Only 28 million were left. Year by year, it kept decreasing 10-20%. The film output nowadays is only 1/6 of those in 80s-90s. In 2013, it only was 42 productions while it had had even 200 something productions in 80s. Objective statistic also shows that Hong Kong film industry has come one step closer towards “sunset industry”. (爾冬陞), a renowned local film director and script writer, said that miserably, Hong Kong local film industry will be vanishing without trade in three to five years. Why? Why the shining local film industry is becoming duller and duoller?

Taiwan, the boss behind the scenes

The turning point started from 90s, (許鞍華) in the News Investment programme said that local filmmaker was 'spoiled' themselves from pass successes. Disincentive air was surrounding in the whole local film industry. An assortment of celebrities was used in a movie but the producer just paid little effort on creation. had long been the largest investor of Hong Kong film industry. An article from Sing Tao F5 IES Product P a g e | 20

Daily (星島日報) in 1999 claimed that Hong Kong film industry investment was dominated by Taiwan market. Movies that were not sold to Taiwan would never succeed. However, the decreasing quality of Hong Kong movies drove the withdrawal of Tai Wan investors in1993. 1/3 of investment for Hong Kong film industry had disappeared. In 1995, Taiwan also signed the General Agreement on Tariffs and Trade [GATT] (關稅與貿易總協官). The quota of importing Hollywood movies was not limited strictly anymore. The ratio between Hong Kong movies and Hollywood movies in Taiwan market was 8:2 before but it had inverted to 2:8 since the agreement had compromised. From 1995-2000, the proportion of English Language movies in Taiwan market was 98.6% and the 1.4% was including movies of all another languages. The proportion of Hong Kong movies was less than 1% perhaps. This issue marked the beginning of declination of local film industry.

97, 03

Figure 3.2

The issue of the emigration before 1997 caused a great amount of talent running off. The outbreak of the Asian financial crisis also leaded a large number of deficits from a flock of film production companies. In 2003, SARs tarnish the whole film market and no one had mood to spend money and time to watch a movie for a respite. Under the tones of negative factors, Hong Kong film industry is going to be low in spirits. Film productions had been stopped for almost 4 months. Only had 54 movies been produced throughout the year. Two renowned celebrities (張國榮) and (梅艷芳) had passed away as well. It was quite shocking news at that time. No one would imagine that the local film production quantity would have a sudden drop. 54 was an impossibly low number at that time for most of the Hong Kong people, even though the quantity had been under 50 in 2014. Anyway, the year of 2003 did mark the declination of local film industry.

Illegal copies of movies

F5 IES Product P a g e | 21

Figure 3.3

Figure 3.4 Hong Kong Performing Artistes Guild (香港演藝予協會 ) had done 2 mass demonstrations in 1997 (打 擊盜版Օ遊衁) and 1999 (反盜版繫列活動) against illegal movie copies. In light of the survey from figure 3.4, more than half of the interviewees (87/161) watch movies through the common channel of cinema. Only a small portion of them watch movies free on charge through Internet. Many filmmakers emphasize that the issue of illegal copies had decreased the incentive of investors. However, very few did western movies had a large degree of diving on box-office. Under the forces of film producers, Hong Kong government did take immediate action to Combat them. Copyright law had been set up but it seemed that no great improvement was seen. Local film industry had an illusion that the reason of the declination of local film was due to the external factors. They did not dare to admit the obligation is on their own but shift the burden to the minor surrounding F5 IES Product P a g e | 22 impact

The curse of CEPA!?

Figure 3.5

More than half of the interviewees (91/161) are not so familiar with the situation of local film industry. Mainland and Hong Kong Closer Economic Partnership Arrangement” is concluded and signed in 2003. Ten years have pasted and only do few of the so-called local films are really produced locally or perform the spirit of Hong Kong. None of them are not cooperation movies. During the economic stagnation in 2003, Hong Kong was in trough. Local film industry of course could not escape from this. A film production requires lots of capital to invest. Production always acts as a passive character. Open the door to outsiders is the only way out.

Albert Yeung (楊受成), Chairman of Emperor Group (英皇雅團), frankly told the truth in the News Investment programme that starting from 2003 all of their movies were produced on the basis of mainland audience tastes. In 2010, the most popular cooperation movie, Detective Dee and the Mystery of the Phantom Flame (狄仁傑之通天帝國 ) got 100 million box-office income in mainland while it only got 11 million in Hong Kong. Ip Man 2: Legend of the Grandmaster (葉問 2：宗師傳奇 ) got 200 million while it only got 40 million in Hong Kong. Hot Summer Days (光城熱戀熱辣辣) got 130 million while it only got 3 million in Hong Kong. The above data shows that there is a great disparity between the tastes of mainland and Hong Kong. Now the situation is that the local film is not local any more. All those scenes in the movies are so unfamiliar to Hong Kong people. It is total different from the “native” local film in 70s-90s. Not many parallels are found between the films and the social condition in Hong Kong. Without the material come from the daily life of people, they would not be interested in the movies. Their incentive is getting lower and lower. Acceptance level towards local film has declined. Just like what Joe Cheung (張同祖), a renowned local film director, said in a TVB programme, News Magazine (新聞逡 視) –“ Local Film” (本土電影 ), all the themes of cooperation movies are all about historical period drama. He felt that this market has already satisfied. With a distance between the topics and the ideology in modern society, audience is bored. Less Hong Kong people will support the local films. Local film F5 IES Product P a g e | 23 industry started to decline.

F5 IES Product P a g e | 24

Figure 3.6

Another negative effect brought by CEPA is its strict rule. For example: the main actors or actresses from mainland must not less than one-third of all actors or actresses. The plot or the protagonist has to be connected to mainland. As the movies in mainland does not distinguish any rating, anyone from 8-80 can enjoy all of it so that the genres of them have to be narrowed. According to the “Film Control Ordinance” and the censorship of General Administration of Press and Publication，Radio，Film and Television, any topics about gambling, triad, prostitution, drug abusing and gangster does not able to lead to any positive description; the antagonists cannot even have positive ending; cruel criminals must not come from mainland; any theme about ghost or occult is prohibited; political issue of any sensitive affairs will be filtered too.

F5 IES Product P a g e | 25

A fresh scriptwriter, Bond complained in News Magazine that his process of screenplay creation of cooperation movies were always under lots of limitation. Three of his scripts were banned after his launching out into film industry. The value judgments and censorship standards exist a big gap between Hong Kong and mainland. One of his scripts was writing a scene about a mystery superintendent of police testing the loyalty of his subordinates towards police union. It, however, had been banned soon by the producers. “Every police in China is loyal. No testing is needed.” That is the told reason.

Chiu Sung Kee (趙崇基 ), a renowned local film director, said in an interview, “香港奠影 - 已逝去的 創作空間?” that in The Road Less Traveled (一路有佝 ) directed by him a fighting scene between a Hong Konger and a mainlander had been forced to shorten. The people of Chinese censorship believed that it put an emphasis on the Hong Kong-Mainland conflict. Mainlanders, not bullying Hong Kongers, are so nice. He thought that the Chinese government was too sensitive. What he cared about was just the artistic effect for the development of the plot.

From the experience stated above, CEPA do suppress the creation of the movie productions and make them become nondescript due to the accommodating to the mainlanders. With the narrowed theme, less and less audience would like to pay for a repeating movie. No surprise leads to a low attraction towards general public. Declination of local film industry is accelerating.

Commercialization of local film industry

Figure 3.7

Movie is a kind of art, but now the trend is that movie is twisted as a promotion tool and controlled by the avaricious mentality of the business men. That’s why the filmmakers are willing to submit under the restriction of CEPA. Albert Yeung (楊受成), Chairman of Emperor Group (英皇雅團) frankly told the truth in the News Investment programme that those “native” local films go to the mainland market as imports which only share 10% of the profit for their company. Comparing with those cooperation films, it was four times more, around 40%. As a businessman, there is no way but to accept the market direction.

A fresh scriptwriter, Bond complained in News Magazine that many investors produce a film just for the exposure of themselves or their products. He met someone wanted to produce a movie for his girlfriend. A tycoon would like to produce a movie showing off all of his wine products and describe a F5 IES Product P a g e | 26 story of the success of Chinese wine.

Gordon Chan (陳嘉上), chairman of Hong Kong Film Award Association (香港電影金像獎), said in News Magazine that most of the investors nowadays are only some film- fanatic. They know nothing about film production. All they want is to jam all the stuff they like into a movie. The work of local filmmaker is just like a crew for technical help. The investors would like to dominate it. Gordon also shared one of his experiences during the production of Painted Skin (畫皮). The first edition of the movie was not cut by the director, him. The investor cut a version with the footages without the permission of Gordon. The investor thought he is the boss who provided capital for the operation of this film production and he had the right to take everything under his own control.

Peter Chan (陳厼辛 ), a renowned local film director, said in the News Investment programme that the so-called cooperation movies are not actually under cooperation. It seems likely a buy-and-sell trade. They take the film production as a business. The amount they invest is exactly equal to the anticipated box-office income in mainland they shared.

Since 2010, (曾志偉), a renowned local actor, started to produce a series of so called “New year greeting film” every year which included assortment of celebrities. The casts have brought together some of the best indeed but it has no benefit to local film industry for a long term. According to the article, 香港，勝在有賀歲片； , (杜汶澤), a renowned local actor said that Chinese prefer to gather together and that is the happiness in every big traditional festival. That’s why people enjoy watching hilarious scene of bustle and excitement.

All of the above is brought by the greed towards money. Just like what (葉彲嫻) said in the News Magazine, film industry requires a lot of investment. Sad but true, the investors take the final decision right. All they care about is the profit, by how great their story is. Filmmakers are always in a low status ironically. Value of film is also being distorted. Declination of local film industry keeps going on.

“Dark side” of local film industry

F5 IES Product P a g e | 27

Figure 3.8

Nearly half of the interviewees (76/161) agreeed in a large extent that a great amount of talents are running off while less and less adolescents are willing to launch out into film industry.

Ann Hui (許鞍華), a renowned local film director, said in the News Investment programme, the success and profit of the (桃姐) which got five golden rewards from Hong Kong Film Award Association could only make her a stable life for only two years. It shows the plight of local film industry. The top director in Hong Kong is not even living as sumptuous as you think. With the declination of local film industry, the seniors choose to leave while the freshmen do not dare to get involved in it.

In A Simple Life (桃姐), the main character was exactly a filmmaker who had no way but to beg for investments from mainland. So much hindrance and struggling in the process. Although it is not the main focus of the movie, I can see the resonance Ann would like to convey to other filmmakers. It totally reflected the cruel of reality.

Heiward Mak (麥曦茵), a passionate new local film director, said in the News Magazine that many seniors told her to make some large scale production. Cooperation film is a not bad option. She was told that there is not much prospect if she just kept producing some minor local films. Investment is the most core problem faced by some new directors. They may have good idea and passion but rarely do their name are being heard. Heiward confessed that sometimes submitting is a must for her to pursue her movie dream. If they do not submit, that means the chance for them to produce a movie will be gone too. She believed that submitting is another way of persistence. It is really hard to strike a balance indeed but she is getting used to it. It seemed that it is not a big deal to sacrifice her originality when the days of her movie life increase.

F5 IES Product P a g e | 28

Figure 3.9 郭建樂, a passionate new local film director complained in an interview, “香港奠影 - 已逝去的創作 空間?” that The Film Development Fund (電影發展基金 ) which aims to give sponsor to the fresh filmmaker is not feasible enough. The censorship of funding is very restricted that the film must be limited in some particular genre. The most significant hindrance towards those fresh filmmakers is the productions have to be backed up by a film company. He doubted that function of this fund. Fresh filmmakers are difficult to sell their production to the big film company. That is why they need the fund to pursue their dream. Sadly, government just seems that it knows their situation and tries to offer a hand. It does not work indeed. Commercial movies keep rising up while the passionate new filmmaker can never develop their potential. This disparity keeps expanding and causes the declination of local film industry with no turning back.

On the other hand, the unhealthy atmosphere in local film industry causes the declination as well. There is no a perfect system for the talented filmmaker to find a suitable job. Social network and interpersonal relationship are the key of their precious opportunity. It leads that some potential filmmakers who are in lack of socializing skills will have no space for them to show off. Vice versa, some filmmakers who is money-oriented with no passion but a strong interpersonal relationship will satisfied all the space. Unfair treatments then occur.

The origin – audience

F5 IES Product P a g e | 29

Figure 3.10 From figure 3.9, half of the interviewees (80/162) would watch a movie simply because of their friends’ favour or the accompanying of friends instead of the quality of a movie. This is totally not in line with what the painstaking effort of the production team paid. They did a lot to polish the movie in different aspect, eg acting of the casts, animation, cinematography, costume design/make up, visual/special effect, music/sound, picture, screenplay, stunt/live action, film editing, setting etc. But all of these are not vital anymore. People just choose to watch a movie by neglecting all of the factors that the production team committed and concerned. As well as the celebrities’ idol effect, 40% of the interviewees (64/162) prioritize this factor as their desire to watch a movie. It shows that the mindset of audience has been changed. This is the matter of audience’s quality. No matter how big the production is or how well the movie is planned, the one who decides whether the movie is successful or not is the audience eventually. Now, the criterion of judging the quality of a movie has been twisted. All the directors just need to find some household names and lag the original core value behind.

李綽桃, Chief producer of Hong Kong International Film Festival (香港國際電影節 ), sighed in the news -電 影節開幕票房傾側響警號 from Sing Tao Daily (星島日報) that movies with lots of celebrities was so popular while the productions by fresh directors only grab very few attraction. He thought that is the negative attitude of audience. The quality of those new productions was quite good. He put a blame on the audience who had a stubborn mindset that drove them a low incentive to try and accept new stuff.

Globalization

F5 IES Product P a g e | 30

Figure 3.11 Most of the intervieewws agreed in a large extent that the hollywood movie cyclone is sweeping across the world. Under globalization, general public can easily access different western films. Audience can have choice and comapsion. Besides, the technological globalization has widen the base of people entertainment. Gripping news, astonishing video clips, amusing photos are everywhere on Youtube, Facebook, Instagram etc. Every one can be the filmmaker, story teller. Just grab their phone and flicker their finger on the screen can let all the people around the world know their idea and find the ones who have the same wavelength with them. That’s why local film industry is kept declining in spite of their low quality.

F5 IES Product P a g e | 31

4) How can different stakeholders help to maintain the development of local film industry?

Government

Figure 4.1 From figure 4.1, large portion of the interviewees agreed in a large extent that government should bear the greatest responsibility for the declination of local film industy.

Figure 4.2 F5 IES Product P a g e | 32

Figure 4.3 From figure 4.2, 70% of the interviewees (113/161) suggested givernment to provide more subsidies or allowances. From figure 4.3, 70% of the interviewees (116/161) thought that the investments/ sponsorships are not enough for local movies. According to the complaint of fresh filmmakers stated in the previous question.

“郭建樂, a passionate new local film director complained in an interview, “香港奠影 - 已逝去的創 作空間?” that The Film Development Fund (電影發展基金 ) which aims to give sponsor to the fresh filmmaker is not feasible enough. The censorship of funding is very restricted that the film must be limited in some particular genre. The most significant hindrance towards those fresh filmmakers is the productions have to be backed up by a film company. He doubted that function of this fund. Fresh filmmakers are difficult to sell their production to the big film company. That is why they need the fund to pursue their dream. Sadly, government just seems that it knows their situation and tries to offer a hand. It does not work indeed. Commercial movies keep rising up while the passionate new filmmaker can never develop their potential. This disparity keeps expanding and causes the declination of local film industry with no turning back.”

Government should clarify who is wll-deserved for those fund and who is the needy. I hope it will encourage more potential talent to develop their potential but not spread the atmoshere of repeating commercial movies.

From figure 4.2, more than half (87/161) of the interviewees suggested government to relas the restriction of CEPA on local movies. 談智偉, chairman of Hong Kong Motion Picture Industry Association [MPIA] (香港電影協會) said in an interview, “香港奠影 - 已逝去的創作空間?” that he did not encourage government to invest too much money on the subsidies or allowances. He just hoped government to reform its policy on CEPA. If government is really trying to maintain the development of local film industry, it should give no intervention. Giving sponsor is not tackling the root of the problem. Once this ingrained problem has solved, other side factors will be soon solved.

陳韜文, Professor of CUHK - School of Journalism and Communication (香港与文Օ學新聞與傳播 學院), suggested in the interview that government can try to loosen the CEPA restriction, importing native F5 IES Product P a g e | 33 local film without any suppression to the city using Cantonese language such as (廣東), Foshan (佛山) etc.

趙崇基, a renowned local film director, said in the interview that the above suggestion is feasible. Spreading local film to the area with similar culture do a world of good. He did not expect government to pump the industry a lot of money. Fighting back a reasonable market and the freedom of creation is the top priority.

Production companies

Figure 4.4

趙崇基, a renowned local film director, said in the interview that filmmakers should not lose faith even in plight and this unfair system. It is not an excuse for the filmmakers to shift all the obligation to the government or the general public. Filmmakers should always excel themselves. Only the one needed help can truly help themselves. From figure 4.3, a large proportion of interviewees (122/161) suggested production companies to cultivate more adolescent who have aspiration of film production.

“The unhealthy atmosphere in local film industry causes the declination as well. There is no a perfect system for the talented filmmaker to find a suitable job. Social network and interpersonal relationship are the key of their precious opportunity. It leads that some potential filmmakers who are in lack of socializing skills will have no space for them to show off. Vice versa, some filmmakers who is money-oriented with no passion but a strong interpersonal relationship will satisfied all the space. Unfair treatments then occur.”

F5 IES Product P a g e | 34

Production companies should set up a new system like “mentors and mentees”. Some film-fanatic can start to learn while working. Those with aspiration and potential can achieve high posts by their contributions. Even treatments for everyone. Universities and community colleges should also send their student studying communication, film and art and creative/digital media etc to have internships in those big production companies. Taking part in some large-scale film productions can really acquire some practical skills and get used to the operation routine of a real film production. Above scheme exists a spirit of heritage and the spirit of local film industry will never die too.

Individuals

Figure 4.5 From figure 4.5, an enormous proportion of interviewees thought that producing independent movie or micro film is a new outlet for adolescent in the declination of local film industry. Individuals are encouraged to partake in different independent movie competition, like Fresh Wave (鮮浪潮) and Hong Kong International Film Festival (香港國際電影節 ). Especially Fresh Wave, it aims to develop some potential and passionate filmmakers. Not only do they shooting a video and participating a competition, there are experienced directors to guide them and show them how is the operation routine of a real film production. It, training up their skills and testing their own limit, is a great path for the starting point of their movie career. In line with the RTHK TV programme commissioning, the whole film production is subsidized. It is really great news for those fresh filmmakers who have not much budget. They can therefore have a greater chance to get involved in something new, getting a breakthrough. In the time and age, filmmakers can also use up the advantages of social media in order to share their masterpieces to the people all around the world. SONY has recently held a YouTube video competition “夢.想就拍出來”. Internet platform usually has a lower threshold. Those film-fanatics could just grab up their phones to shoot their own story. They do not need any expensive camera, lighting, computer for editing. Just the phones can help them to pursue their movie dream. Anyway, the upmost vital thing of producing F5 IES Product P a g e | 35 independent movie is no limitation, no restriction, no suppression. No commercial consideration would be taken into account. Everyone can do what they want. Local film industry, a creative industry should always be like this – thinking out of the box!

F5 IES Product P a g e | 36

Section VI: Conclusion and Recommendation

Hong Kong movie is what we take pride in invariably. It is a cornerstone and backbones of our local custom. As a far-reaching media, it does a world of good and drives our behaviour and mindset. It will always inspire us the minor affairs or faith we missed in our high-speed daily life, not to mention helping us to reflect something we cannot voice out in the trunk steam, to name but a few. This is our indispensable lifestyle. The reason I chose this topic is that I find worthlessness to see the future of the film industry dimmer and dimmer. In the process of data researching, I found more and more dark sides of local film industry. No hope is seen, not even a ray of light. Until I received the survey result…

F5 IES Product P a g e | 37

Section VII: Reflection

Honestly, when I started the preparation, I just considered this Independent Enquiry Study as same as other academic works. However, after finishing two stages, I found it is truly a valuable experience which positively affects me in three extents.

First, my understanding on local film industry and culture was enhanced. Nothing beats a movie with all your familiar environment or maybe some skirmishes happening around you. Now, while my friends date me to watch a movie, I would recommend, “Why don’t try to support our local film industry?” It is one of what I can do to promote my beloved movies with our unique and second-to-none culture.

Second, lots of virtues have I learnt a real movie production. The tolerance and enthusiasm of even producing a small scale movie which may not have any audience is undeniably high as their workload and pressure are very demanding. Furthermore, the sincerity and devotion of the film producers who have nearly fought for a half decade is truly a push to me and my academic study. These virtues cannot be taught by book, but life experience. You need to explore yourself in the sea of local culture.

Third, making a proposal was a challenging mission. I learnt the skill of searching suitable information. Sometimes the topic was so wide and I needed to narrow it for my focused discussion. With the tones of the information, it was hard to organize it and required me to consider about the full picture and the structure of the proposal as well as the way to present. I had to analyze and observe in different perspective. Sometimes, the view of some stakeholders may be too subjective and narrow-minded. I needed to critical think and judge what the fact actually was. I tried to wear others’ shoes and consider their cause and action from their perspective. This makes me know to observe an issue with different angles.

Last but not least, through carry the study, I overcome many obstacles and understand the time and date management is the key at all the time. I believe I can handle the tasks even better in the coming future. I have faith.

F5 IES Product P a g e | 38

Section VIII: Bibliography

Non-web Materials

(II) Journal/Magazine Articles Title of the Journal Country or Author (Year) Title of the Article Name of Publisher and Issue number Place 1. 2007 Ethics in the HK production of Hong Kong movies 2. 1998 Pictorial HK representations of "Hong Kong": a study of 1980s and 90s Hong Kong films

(III) Newspaper Articles Country or Author (Date*) Title of the Article (Date*) Name of the Newspaper Place 1. 余展豪 電 影 節 開 幕 票 房 傾 側 響 HK 星島日報 警 號 (7/4/2014)

(IV) TV News Documentaries Producers/ Title of the Report Title of the Country or Name of the Media Reporters (Date*) Programme Place Corporation (Date*) 1. 張克超 本土電影 新聞逡視 HK TVB (12/4/2012) 2. 30/5/2013 香港奠影 - 已逝去 HK Fever 的創作空間? 3. 22/11/2012 百年夢工場 HK 4 9/7/2012 香港電影 : 北上 北 新聞調查 China CCTV-13News 上 5 5/2/2009 HKFILM100 F5 IES Product P a g e | 39

Section IX: Appendix

Questionnaire on the development of Hong Kong film industry : https://docs.google.com/forms/d/195NGfZEfiDltIGmceF7GDvdxqMHO-weymhBZiTcEC Uw/viewform

Questionnaire on the development of Hong Kong film industry (result) :https://docs.google.com/forms/d/195NGfZEfiDltIGmceF7GDvdxqMHO-weymh BZiTcECUw/viewanalytics

示例 得分 簡評 Exemplar Mark Comments Exemplar 3 7  The candidate formulated an interesting title for study and was able to gather highly relevant data  S/he gave a detailed and comprehensive analysis using various sources and made an effort to justify his/her arguments about the decline of the local film industry from different perspectives (e.g. respondents’ perceptions of local films, competition from Hollywood films, views from film producers and artists, box-office data, etc), indicating an understanding of the requirements of an enquiry study  S/he formulated appropriate and clear focus questions, but some enquiry questions could have been addressed with a more in-depth analysis (e.g. the comparison between Hollywood and local movies could have been done in more detail by analysing the findings from the questionnaire survey on the elements of film-making)  S/he could have improved the presentation by labelling clearly the Y-axis of the attitude scales in the graphical presentation of the findings from the questionnaire survey