Ramifications of cultural exports for cultural dynamics: assimilation of McDull, a Hong Kong movie series relocated to China

ABSTRACT

This paper discusses the cultural implications of the assimilation of Hong Kong movie production in the process of China–Hong Kong coproductions. Local Hong Kong cultural products tend to be stripped of their local characteristics to cater to the Chinese market when prosperous businesses become based in China. Moreover, distinctive cultural resources in the Hong Kong movie industry, such as techniques, professionals, and intellectual property (IP), are assimilated and coopted by China’s cultural industry to ensure the success of its future development. This assimilation may result in cultural conflict, which was indicated by the reaction of Hong Kong audiences to China’s embezzlement of their cultural products. This study analyzes three animated movies in the McDull series through focus group interviews with movie investors and audiences in Hong Kong and China. The findings show that assimilation driven by economic factors induces negative sentiment in Hong Kong audiences as they witness the assimilation of their nostalgic icons. Based on these findings, the ramifications of such assimilation for cultural dynamics are considered.

KEYWORDS:

• China–Hong Kong coproductions
• cultural export
• cultural dynamic
• assimilation
• China-based Hong Kong cultural product

Acknowledgments

This research project was funded by a grant from the Research Grant Council of HKSAR (Project no. GRF14600618) and the Key Fund of the National Social Science Foundation of China: Arts category (18ZD12).

Special terms

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Notes

1 The depiction of the “good old days” in Hong Kong movies and cultural products usually highlights the 1980s and 1990s when Hong Kong enjoyed distinctive advantages and privileges socially, culturally, and economically because of its rapid modernization and urban development.

2 Open recruitment was conducted in three major Hong Kong forums: the Golden Forum, the Lihkg Forum, and the Discuss Forum. In total of 42 interviewees, 19 were males and 23 females. The age of interviewees was regularly distributed, with 10 of them below 21 years old, 12 aged from 21 to 25, 11 aged from 26 to 30 and the rest (9) above 30. Most interviewees (>90 percent) had bachelor’s degrees or other higher degrees. Approximately half were students.

3 This comment was written by a user named HiuLung on 21 February 2010, under the topic of “The delocalization and Sinicization of Hong Kong movies” in Film Critics China. http://www.filmcriticschina.org/?p=1361

4 This interview was conducted in another research project.

Additional information

Notes on contributors

Boris Lok Fai Pun

Boris L.F. Pun is post-doctoral fellow in the Hong Kong Institute of Asia-Pacific Studies at the Chinese University of Hong Kong. His research interests focus on popular culture and cultural studies, particularly in popular culture and youth studies (i.e., fandom studies, youth policy, cultural industry for youth). He has recently published different journal articles and book chapters on the topics of youth and media studies, including the usage of Chinese social media Douyin, BL (Boy love) fandom and ACG (Animation, Comics and Games) fandom in China, and this article about the relocation of Hong Kong animation cultural industry under cultural policy.