Conclusion

 

Although East Asian regional network of screen industries was being recognized since 1980s as a new trademarks or label for cultural production and consumption in the global age (邱淑婷, 2010).  Based on the analysis mentioned in the pervious pages, East Asian film production including Japan, South Korea, Taiwan as well as Mainland China and each country own her unique story with Hong Kong. For example, the relationship of film industry between Hong Kong and Japan is quite complicated and interesting since they are cultivated in with the World War II historical background, or more precisely, the Second Sino-Japanese War (邱淑婷, 2006). It is noteworthy that Hong Kong has already borrowed the technologies, talents and genres from Japan in the postwar period with the contribution of Shaw Brothers (邱淑婷, 2006). However, our studies largely focus on the recently trend of how Hong Kong renting other successful elements from the regional neighbors and how she explores the potential market of cinema with this advantage.

 

From the selected examples of Connected, Initial D, Infernal Affairs and A Battle of Wits, Rigor Mortis, it is clear that Hong Kong film industries fully utilize the four renting strategies pointed out by Lim (2008) and even cross-adoptions can be found.

 

Different films are suitable for different strategies. In fact, a lot of Hong Kong films combine different strategies to promote their films. The Hong Kong film industry realizes that Hong Kong people love creative ideas a lot and one strategy cannot easily satisfied them. Even the film itself has good quality, the promotion tools should match with the films. Otherwise, the film will not get attention by the public. The marketing team of the Hong Kong film industry should pay more effort on promoting the films to satisfy the locals.

 

Also, it reflects that different regions are interdependence on each other. If they find something good in other regions, they learn from it and practice it. They also help each other. For example, the fourth strategy needs to collect the popularity and reputation of the actors in different regions to promote the film. All the regions want to develop their film industry in a better way.

 

 

 

 

Reflection

 

Are the strategies suitable for anytime?

For a few years ago, many Hong Kong film producers used the strategies and they started to use the plot or styles of the foreign films to fit the taste of the audience. They wanted to be well-known and get more profits by producing these films. They think the market of these films is bigger. Therefore, they did not produce the films that full of Hong Kong characteristic and culture. This trend went on for some years. Recently, the Hong Kong film industry realizes that Hong Kong people actually support the films that full of Hong Kong styles a lot. They start to produce some films that only suitable for Hong Kong people. Some of the films are Vulgaria (2012) and The Midnight After (2014). (Zhu Bian, Zhou Sizhong, 2014) For The success of these films indicates that the strategies of promoting the films change when time change. Even the strategies are good; the audience may feel bored if the producers continue to use them. The producers should pay more attention on the taste of the audience in order to get a success easily.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Reference:

 

Zhu, B., & Zhou, S. (2014). Xianggang dian ying 2013. Hong Kong: Hong Kong Film Critics Society.

 

邱淑婷(2006)。《港日電影關係－尋找亞洲電影網絡之源》，香港，天地圖書有限公司。

 

邱淑婷(2010)。《中日韓電影－歷史、社會、文化》，香港，香港大學出版社。