TY - JOUR
T1 - Policy and creative strategies
T2 - Hong Kong CEPA films in the China market
AU - Yeh, Emilie Yueh yu
AU - Chao, Shi-Yan
N1 - Funding Information:
An early draft was presented at a symposium ?Film Policy in Transition: Globalization, Digitization, and the Rise of Protectionism? held in King?s College, London, May 2017. The authors thank the organizers and audience at the conference. Data collection was supported by research funds of Lingnan University and Hong Kong Baptist University.
PY - 2020/2/23
Y1 - 2020/2/23
N2 - This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce CEPA films to tap into the rapidly growing mainland market. This shift has been considered as part of HKSAR’s overall mainlandization and subsequent disappearance of a distinct local identity. This article revisits this view by presenting two case studies to see if indeed Hong Kong CEPA pictures are devoid of Hong Kong elements. The case studies analyze textual elements of two CEPA blockbuster films, The Mermaid (dir. Stephen Chow, 2016) and The Taking of Tiger Mountain 3D (dir. Tsui Hark, 2014). Citing the intertextual allusions to the directors’ old works seen in these two films, the authors argue that the market advantage granted by the CEPA scheme in effect allowed Hong Kong filmmakers to revive and extend signature creative strategies of Hong Kong cinema, despite censorship constraints.
AB - This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce CEPA films to tap into the rapidly growing mainland market. This shift has been considered as part of HKSAR’s overall mainlandization and subsequent disappearance of a distinct local identity. This article revisits this view by presenting two case studies to see if indeed Hong Kong CEPA pictures are devoid of Hong Kong elements. The case studies analyze textual elements of two CEPA blockbuster films, The Mermaid (dir. Stephen Chow, 2016) and The Taking of Tiger Mountain 3D (dir. Tsui Hark, 2014). Citing the intertextual allusions to the directors’ old works seen in these two films, the authors argue that the market advantage granted by the CEPA scheme in effect allowed Hong Kong filmmakers to revive and extend signature creative strategies of Hong Kong cinema, despite censorship constraints.
KW - CEPA (Closer Economic Partnership Arrangement)
KW - Chinese film policy
KW - Hong Kong cinema
KW - The Mermaid, The Taking of Tiger Mountain 3D
UR - http://www.scopus.com/inward/record.url?scp=85043693753&partnerID=8YFLogxK
U2 - 10.1080/10286632.2018.1448805
DO - 10.1080/10286632.2018.1448805
M3 - Journal article
AN - SCOPUS:85043693753
SN - 1028-6632
VL - 26
SP - 184
EP - 201
JO - International Journal of Cultural Policy
JF - International Journal of Cultural Policy
IS - 2
ER -