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Compare Hong Kong cinema with Taiwan

 

 

Taiwan cinema

The Taiwan produced film are called “guopian”(國片).

 

Government policy

Taiwan government-funded "Film Fund" is crucial to explore Taiwan's film talent. The Government Information Office imposed film grant which is divided into two groups, five million and 800 million. The purpose of the group of five million grant is to encourage new directors directing a feature film for the first time.

 

Besides, since 1980, Taiwan government established The Motion Picture Foundation and Golden Harvest Awards for Outstanding Short Films, it is to encourage the production of animation, documentary and experiment film. With the aid of government funding, Taiwanese documentaries are artistic movie were well developed. Recently, Taiwan has produced a group of young documentary filmmakers. The themes of their works are varied from the subject himself or his family, and explore serious social or political issues.

 

Development of Taiwan cinema

Before 2010, Taiwan cinema was threatened by the bloom of Hollywood blockbusters. In 2003, local film production were less than 15 films and it only counted for less than 1% of total box office and 95% of them went to Hollywood blockbusters(盧非易, 2003). Taiwan cinema was dominated by foreign and Hong Kong movies. Some critiqued that no matter how many awards Taiwan movie received, Taiwan cinema was still dying(何自力、范麗青).

 

The release of Cape No. 7 (海角七號)in 2008 made the third highest record box office in Taiwan history. Cape No.7’s success turned Taiwan audiences sight to Taiwan “guopian” again. It won 15 awards such as The Outstanding Taiwanese Film of the Year at the 45th Goldern Horse Awards in 2008(Wang, 2012). “Guopian” revived after 2008, for example, Monga(艋舺) in 2010 and You Are the Apple of My Eye(那些年我們一起追的女孩) in 2011 both had record high box office which “You” earned about NTD 460 million.

 

Under the influences of regionalized industry, Cape No. 7 use J-pop singer Atari Kōsuke and Japanese model Tanaka Chie as the cast. This move can prove the internationalized of Taiwan movie and to promote the film out of local market. Besides, cultural tourism and movie are linked together in the production of Cape No. 7. The film was filmed in Hengchun Township and the place now become a famous tourism spot in Taiwan. “You” is an example to adapt the strategy of making the movie as a must-see spectacle event. When “You” was released in 2011, everyone was talking about the film and everyone became so nostalgic to drawn themselves into their first love in the past. The line “每個人心中都有個沈佳宜” evoked people’s romantic side and feel so connected with their first love’s memory.

 
Hong Kong Cinema compare with Taiwan Cinema
Taiwan director Ang Lee comment on Taiwan film industry that “we have the advantages of a free environment for creation, but our production scale is too small and have low technology level, we don’t have a way to accumulate experience”(吳燕玲, 2013). Because of the government policy, most of the Taiwan movie are small scale artistic film without much commercial value. Therefore Taiwan movie is relatively not attractive compare with Hong Kong or China movies from the investor perspective. The education system of movie production only focus on director training. But movie industry is composed by many different parts of professionals including writer, camera, lighting and post-production. In the past, Taiwan director need to source funding and do all the minor jobs. It is after the success of Cape No. 7, Taiwan started to introduce the producer system(林俊劭, 2010).

 

Therefore, Hong Kong is much ahead from Taiwan cinema. With a complete industrialized system and well devision of labour in movie production, the only concern is financial resources. But after introduction of CEPA, China become a possible key to solve the budget problem. The only limitation is, can Hong Kong strike a balance between artistic expression and investor expectation? If yes, Hong Kong should be soon to regain its top position in this highly regionalized industry. 

 

 

 

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References:

 

Brief History of Taiwan Cinema. (2015). Taiwan Academy. Retrieved 2015-4-22 from http://www.taiwanacademy.tw/toolkit/index.php?option=com_content&view=article&id=46&Itemid=181

 

Wang, C.H., (2012). No Signs of Slowing Down: The Renaissance of Taiwanese Cinema. In Abraham Ferrer (Ed.) Los Angeles Asian Pacific Film Festival Program Catalog (pp. 24-29). Los Angeles: Visual Communications

 

何自力、范麗青。《台灣電影遭遇寒冬》。

 

林俊劭。2010。《導演只是廚師,製片才是餐廳老闆——透視賣座電影幕後推手》。商業周刊 第1232期 。 網址:http://www.businessweekly.com.tw/KArticle.aspx?id=39389上網日期 2015-4-5。  

 

吳燕玲。2013。《台灣來鴻:台灣電影氣虛在哪裏?》網址:http://www.bbc.co.uk/zhongwen/trad/taiwan_letters/2013/11/131128_twletter_goldenhorse_bywuyanling。上網日期: 2015-04-2。

 

陳嘉惠、林郁仁(2008 年 9 月 24 日)。《觀眾盼拍海角七號前傳,魏導:故事的美好是留在現在》。東森新聞。網址: https://www.ptt.cc/man/movie/D5AD/D9D1/D94A/D95F/DA74/DAF7/D56E/M.1226339930.A.8B5.html。上網日期: 2015-04-5。 

 

盧非易。2003。《從數字看台灣電影五十年》。網址:http://i.mtime.com/106567/blog/157779/。上網日期: 2015-04-2。

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