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Abstract
Hong Kong has long been the centre of Cantonese film-making. Its history from the 1970s to the handover of 1997 has been well documented as the recognition of its role as a supplier of films to the Chinese global diaspora became increasingly apparent. Since 1997, however, its production capability has been governed by the cultural policies of the People's Republic of China (PRC). This essay argues that the recent history, dominated by the different versions of the Closer Economic Partnership Agreement (CEPA), has been more complex than the simple transformation of Hong Kong into a portal for the PRC. Both Beijing and Hollywood have benefited from Hong Kong's strategic role but the complexity of the development shows no signs of easy prediction for any of the major players. Perhaps unsurprisingly, the opportunities granted to the local Hong Kong film community by the CEPA have led to a complex decade of development that has been profitable for local production but gives few clues to the role of Hong Kong in future Chinese cinema.
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Notes on contributors
Anthony May
Anthony May is a Lecturer in the School of Humanities at Griffith University, where he teaches Cultural Studies and Writing.
XiaoLu Ma
XiaoLu Ma is a tutor at Griffith University and has recently competed a feature documentary screenplay about the Cultural Revolution.