Hong Kong cinema embraced its peak since the 1980s to early 1990s (Leung, 2008). One scholar even suggests that Hong Kong film industries were a “marginal empire” for its regional neighbors at that period of time (Lii, 1998). The dominating position of Hong Kong cinema enables it to produce films with specific genres for exportation with little regard to the cultural differenced. The popular genres at that time were comedy and action and the significant examples of this trend series of are aces go places (最佳拍檔系列) and series of A Better Tomorrow (英雄本色系列) (Leung, 2008). With the ‘New Wave’ (新浪潮) raised from three television stations in 1980s, the genres and subject matters which challenged the traditional production methods (Cheuk, 2008). It is quite interesting that here we can find the intimate and interactive relationships between television broadcast and film and it further affirms our application (Cheuk, 2008).

 

However, Hong Kong film industries faced its predicament since the mid 1990s with the invention of VCD and satellite stations. It deserved our attention since in Lim’s essay, pan-Asian news channels of niche market and joint-venture Asian satellite are the facilitators of promoting regional cultural production (Lim, 2008). Fortunately, Hong Kong film industries finally aware of the needs for renting regional technology and market with modifications because there are some new competitors in the regional boundaries and Hong Kong cinema cannot stick to its outdated privileged position. For instance, Busan International Film Festival and Shanghai International Film Festival are two brand-new film festivals with great influences in the East Asian region as well as international market (戴樂為、葉月瑜, 2011).

 

 

 

 

 

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Reference：

 

Cheuk, P. T. (2008). Hong Kong New Wave Cinema (1978-2000). Bristol, GBR: Intellect Books. Retrieved from http://www.ebrary.com

 

Leon, H. & Leung, W. F. (2008). East Asian Cinemas: Exploring Transnational Connections on Film. Infernal Affairs and Kung Fu Hustle: Panacea, Placebo and Hong Kong Cinema. p.71-80

 

Lii, Ding-Tzann (1998) ‘A colonized empire: re􏰝 ections on the expansion of Hong Kong 􏰜 lms in Asian countries’. In K. H. Chen (ed.) Trajectories: Inter-Asia Cultural Studies. New York & London: Routledge, 122–41.

 

Lim, T. (2008). Renting East Asian Popular Culture for Local Television: Regional Networks of Cultural Production. In Chau, B. H. & Iwabuchi, K. (Ed.), East Asian Pop Culture: Analysing the Korean Wave. Hong Kong: Hong Kong University Press.

 

戴樂為、葉月瑜(2011) 。《東亞電影驚奇－中日韓台》，台北，書林出版有限公司。