Friday 13 April 2012

Are local films really local? Reconsideration of recent co-operated films

Review of “新聞透視”: “本土電影” (2012, April 12 7pm TVB Jade)

Reference: Cheung. H.C. (Producer). (2012, April 12). News Magazine, Local Films [Television Broadcast]. [With Ng King Chun and Chan Wing Yan]. Hong Kong. TVB. Retrieved 2012, April, 13, from
http://mytv.tvb.com/news/newsmagazine/129072#page-1 

"本土電影" (Local Films) in the TV programme "新聞透視" (News Magazine) shown on 12th April 2012 lets me understand more about the recent development and the problems local film industry faces. But at the same time, it makes me reconsider the new nature of local films.

In this 30- minute programme, a lot of concepts such as coding and decoding (which the producer wants to use the film to give out some messages to the audience) and stereotype (certain type of the actors have to be matched with certain characteristics) were mentioned. A brief history of local films was revealed, but the tone was changed to be pessimistic in describing current development as the industry has twisted the real meaning (nature and style) of films under the trend of co-operations between Hong Kong and China.

More and more co-operations between China and Hong Kong exist for capital need. However, the sad fact is that since China is the main investor, many Chinese regulations have to be observed. For example, the co-operated films cannot have main sensitive topics (for example, political, violence and religion). These all limit the diversity of what Hong Kong film industry used to have. This trend has likewise made Hong Kong new directors suffer.
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I am not a big fan of local films, but the TV programme makes me reconsider the points about commercialization and stereotype in those films.

Of course, profit making and audience are two main supports for film productions. But I think those supports somehow ignore the content of the films.

Commercially speaking, with many technological effects such as 3D (or now 4D), the content is understated. These films are “successful” simply because they can offer a sense of excitement to attract audience. Whether the films can carry some messages or simply have variety is another question.

To serve the audience, the local film industry has to be "updated" every moment, while Hong Kong film industry has reached its first century, when giving excitement is now the top of the list, Hong Kong film industry has lost its originality and diversity.

However, the main reason for the limitation of local films is about China, the main investor who has more say in productions. Those films generally portray the Chinese actors to be heroic and positive, the "age-less" (films should be accessible to all people) law also restricts the certain types of films.

This restriction actually poses a false effect to the public because to glorify the country (China) as good is the only accepted version of those films. I do not mean not to support the country, but even the film production is used as a tool to solely promote the country’s greatness, the industry will be very political and brainwashing.

Therefore, Hong Kong film industry is no more local as it used to be but is now controlled by the audience and producers whom I think as “outsiders” and is related to the Political-Economy Approach.  It is very contradictory to decades ago when various types of films were shown for people to choose. When those films are to find excitement, glorify the government, they are no more local films but just service. When we go to watch a so called "local-film" next time, we may have to rethink about whether they are really "local films".

Student: Tsui Chak Pong, Gordon (CIDP 10416378) (UWA 20855783)
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2 comments:

  1. Avin16 April 2012 at 22:37

    First of all, thank you for posting the first review! Your article is quite comprehensive, also with a strong sense of personal touch. In general, you have made some sharp observations on the development of local film industry, in particular the implications of co-production with the Mainland and the extension of domestic market. The functions of stereotypes, the market-oriented strategy and concepts of PE approach are also nicely discussed.

    Perhaps you can explore a bit on the TV programme itself, and talk about its style in describing the local film industry. How does it present the above trends/concepts to the audiences? Does it urge for retaining those “local elements” in HK films and why? All these related to the roles and social functions of films in the present context, which deserve our critical discussion.

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  2. Student (2012)19 April 2012 at 06:45

    Dear Avin,

    Thank you for your comment! The style of that particular programme is mainly using interviews of local actors or filmmakers. I would like to say that throughout the programme, most contents are about the
    "effects" of the mentioned trend.

    While the trend/ effects, from the programme, tend to be rather negative to the audience as it may somehow limit the creativity of expression of the local filmmakers. This may to a certain extent pollute the "purity" of local films (which may co-respond to the "local-elements" as you mentioned).

    For you suggestion about roles and social functions, I think maybe what increases the level of such discontent may go to the increasing social confrontation between China and Hong Kong now which is maninly about money. Therefore, the case of lcoal film industry may be one of the occasions or even a triggering point for such social antagonism.

    Tsui Chak Pong, Gordon (CIDP 10416378)
    (UWA 20855783)

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