Jackie Chan on state of Hong Kong films

[masterofoneinchpunch]

From the "making of" on Little Big Soldier:

[the grammar issues in the statement below is from the subtitles]

“Nowadays, there is no distinction between Hong Kong There is no “Mainland cinema”. And Mainland China films. There’s only one kind of films: Chinese films. It’s unified.”

What do you guys feel about this? Chan just stating what is in his head?

While there is certainly more coproductions now, HK local films don't follow the same code as Mainland. He also completely ignores Taiwan films (and others). Seriously, all films unified (it feels way too generic to me; Mainland filmmakers themselves are not unified).

[DiP]

If he means the forging of Hong Kong and Chinese films to a complete Chinese cinema, to a large degree yes. If he means stylistically, hell no.

Hong Kong Cinema, culturally, will always be distinctive and different from Chinese Cinema.

[ShaOW!linDude]

If he means the forging of Hong Kong and Chinese films to a complete Chinese cinema, to a large degree yes. If he means stylistically, hell no.

Hong Kong Cinema, culturally, will always be distinctive and different from Chinese Cinema.

Agreed.

Lots of you guys are better at the distinctions between the 2 than I'll ever be but it seems to me that HK films tend to be better with their action: grittier, harder-hitting, more of a modern feel even with their period pieces.

[Sheng]

Originally Postd by DiP

Hong Kong Cinema, culturally, will always be distinctive and different from Chinese Cinema.

Hmm, that’s a generalization that’s not in touch with the new cinematic realities, I’m afraid. HK and Mainland cinema merged to a certain extent, at least when we’re talking about big budget co-ops that are first & foremost aimed at the rapidly expanding Chinese multiplex market. And obviously these co-ops are forced to play by the rules that this market dictates. In these post-CEPA (Closer Economic Partnership Agreement) times HK filmmakers don’t migrate to Hollywood no mo’, they move to the Mainland. Therefore we’re witnessing more and more Mainland-content films. To express the economic realities of this seismic shift in figures that are quite illustrative for the current trend: The recent Donnie Yen vehicle 14 BLADES raked in 130 million yuan in China – in HK, where it hit the circuit at the same time, it only generated 7.6 million HK dollars.

Of course a distinct HK cinema remains, but its increasingly marginalized and underfunded and finds it harder and harder to set local box offices alight. That can equally be said for the “small scale” Milkyway crime flicks as well as for the typical Canto New Year comedies that work only in HK and parts of Guangdong province. And this cultural disconnect is clearly reflected in the revenues.

[Guest Markgway]

It's worth noting that Jackie has had his nose up China's arse for quite some time now...

[DiP]

Hmm, that’s a generalization that’s not in touch with the new cinematic realities, I’m afraid. HK and Mainland cinema merged to a certain extent, at least when we’re talking about big budget co-ops that are first & foremost aimed at the rapidly expanding Chinese multiplex market. And obviously these co-ops are forced to play by the rules that this market dictates. In these post-CEPA (Closer Economic Partnership Agreement) times HK filmmakers don’t migrate to Hollywood no mo’, they move to the Mainland. Therefore we’re witnessing more and more Mainland-content films. To express the economic realities of this seismic shift in figures that are quite illustrative for the current trend: The recent Donnie Yen vehicle 14 BLADES raked in 130 million yuan in China – in HK, where it hit the circuit at the same time, it only generated 7.6 million HK dollars.

Of course a distinct HK cinema remains, but its increasingly marginalized and underfunded and finds it harder and harder to set local box offices alight. That can equally be said for the “small scale” Milkyway crime flicks as well as for the typical Canto New Year comedies that work only in HK and parts of Guangdong province. And this cultural disconnect is clearly reflected in the revenues.

Good take on the new cinematic attributes but the first paragraph was kind of my point about HK and China merging and creating a "complete" Chinese cinema: through co-productions/co-partnerships, big-budgets, greater space for talents etc. Cinemas of both cultures have indeed expanded and been transformed into something greater these past 10 years, and I'll expect it to grow bigger in the future.

But if we were to speak solely about the general film culture in China and Hong Kong and their own traits, like your second paragraph reflects clearly, the difference still shows amidst the changes that has swept through in these 10 years. And it's true that cinematic trademarks in Hong Kong filmmaking is somewhat diminished but as long as there are filmmakers who try to revive and keep producing local productions, that style as well as cultural distinctions and differences between HK and China when it comes to film policies will always exist.