Exploring Hong Kong

Through Film and Popular Music

LECTURE 9
(Semester 2, 2022-23)

Film and Music Industries

Part 1 –

Hong Kong Films and

the Film Industry

2
 Overview of Hong Kong Film Policy and
Support from the Government
• Hong Kong SAR government has treated Hong Kong
cinema as a sector of the Hong Kong economy only (in
particular, emphasizing its moneymaking ability).

• “The local government has confusedly and narrowly

defined the artistic and cultural sectors of Hong Kong,
and therefore has not considered film as part of these
two sectors – the first priority of the government is
always of economic and not cultural concern”.

Cheung (2016: 199-202)

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 Overview of Hong Kong Film Policy and
Support from the Government
• The objectives of the Film Development Fund (電影發展基金）,
set up by the government, focus on fulfilling the budgets,
promotion, talent training and audience development of “Hong
Kong films”
➢ they do not state clearly whether the sponsored films need
to reflect the lives and thinking of the locals

• The government sees its role as an investor rather than a

provider of subsidies – those film projects that promise higher
returns will get a better chance to win the government funds.
Cheung (2016: 199-202)

Hong Kong Film Development Council, established in 2007, was

originally under the Commerce and Economic Development
Bureau. From 1 July 2022 onwards, it is now under the Culture,
Sports and Tourism Bureau. 4
 Overview of Hong Kong Film Policy and
Support from the Government
• The First Feature Film Initiative （首部劇情電影計劃),
introduced by the government in 2013, improved the situation
- funding is made available for the winning new directors and
their film production teams to make their first feature films.
Cheung (2016: 199-202)

What has been changed since the establishment of the Culture, Sports
and Tourism Bureau in 2022, which is now responsible for the
development of the film sector?

Explore more about the relevant policies and support from the
government:
Hong Kong Film Development Council: https://www.fdc.gov.hk/
First Feature Film Initiative: https://www.fdc.gov.hk/en/fffi
Film Production Finance Scheme: https://www.fdc.gov.hk/en/fpfs
Film Services Office: http://www.fso-createhk.gov.hk/en/home
5
 Impact of CEPA
• To tap the Mainland market, in 2003 the Hong Kong SAR
Government and the Central Government signed the Mainland
and Hong Kong Closer Economic Partnership Arrangement
(CEPA)

• Films co-produced by Hong Kong film companies with their

Mainland partners under the CEPA will be treated as Mainland
films when they are distributed in the Mainland.

• Chinese-language films produced in Hong Kong are also

allowed to be imported for distribution in the Mainland on a
quota-free basis, after China’s censorship approval. (Before the
implementation of CEPA, Hong Kong-made films that were
not co-produced were treated as foreign films.)
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Cheung (2016: 197-202)
 Impact of CEPA –
Film and Other Industries
• To salvage what they could from a prolonged state of
declining returns, all of Hong Kong’s established film
companies set up offices in Beijing or Shanghai to relearn
the rules of the game in China. Many producers and
directors relocated their offices and personnel to the
Mainland to redirect their energies into co‐producing films.

➢ Their experiences echo those of many service sector

companies that adapted themselves by building
Mainland business networks in advertising, banking,
cultural entertainment, education services, finance,
insurance, law, photographic and printing services,
telecommunications, and the like.
7
Yau (2015) p. 17-18
A list of some notable
Hong Kong Directors’
Co-production Films
in Mainland China
(2003-2013) and Box
Office in Mainland

Table from Yau (2015),

p. 27

8
 New Regulations Since 2019
• In April 2019, Mainland authorities agreed to relax
regulations. Among the requirements no longer valid are
restrictions on the percentage of artistes and the
requirement of Mainland-related plots in films jointly
produced by the Mainland and Hong Kong.

• Hong Kong film industry gets major breakthrough with

this deal in 2019, but it will still have to respect
regulations guiding projects across the border.

Source: from SCMP (published: 16 April 2019)

https://www.scmp.com/news/hong-kong/hong-kong-economy/article/3006339/new-
deal-opens-mainland-china-hong-kong-film
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 Challenges in the Mainland Market
Many Hong Kong filmmakers still find it hard to truly
incorporate themselves and their productions into the
Mainland film industry system

➢ Some Hong Kong filmmakers are unfamiliar with the

Mainland film distribution and exhibition network, film
industry statistics, legal enforcement, censorship criteria,
etc.

➢ It may also be difficult for Hong Kong filmmakers to

understand the market and the taste of Mainland
audience.

10
Cheung (2016: 202)
 Polarization in the Film Sector
• In recent years, the number of local film productions
continues to be low. Local audiences shift their interest
to Hollywood movies and away from local productions.

• Polarization in the film sector is getting more and more

serious. Filmmaking is characterized by either:
• mega blockbusters which are usually Mainland-
Hong Kong co-production projects with insufficient
defining characteristics/creativity of Hong Kong
local films; OR
• low-budget local films that lack Mainland and/or
overseas market potential

11
Cheung (2016: 201-202)
Some Hong Kong directors now
focus on the Mainland market.
Examples include Stephen Chow
（周星馳) and Dante Lam (林超
賢).

Many Mainland-Hong Kong co-

production films, directed by
Hong Kong directors, gained
huge box office success in
Mainland.

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• On the other hand, some directors in Hong Kong have
been producing relatively low-budget films that focus on
local topics and social issues in recent years. Some may
even focus on a particular minority group in Hong
Kong.

13
Many of the films that gained funding via the “First Feature Film
Initiative” (https://www.fdc.gov.hk/en/fffi ) have strong local
Hong Kong elements. These films, directed by new and young
directors, won critical acclaim in Hong Kong and even overseas.

Hand Rolled
Mad World Cigarette
一念無明 手捲煙
Directed by Directed by
Wong Chun 黃 Chan Kin-long
進 (2016) 陳健朗 (2020)

Weeds on Fire
點五步
Directed by
Chan Chi-fat
陳志發(2016)
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 Hong Kong Cinema and
Pan-Asian Co-production

• Pan-Asian film productions began taking shape in

Hong Kong during the 2000s, and brought about
numerous commercial films co-produced with
Thailand, South Korea and Singapore.
• In recent years, film industries in our neighbouring
Asian countries are on a meteoric rise. Especially in
Southeast Asia, where we have been seeing a
progressively growing international co-production
model and more independent films making their
marks in international festivals.

http://ncchk.org/en/co-production-en/
Advantages of Pan-Asian Co-production

• Larger market (Asian countries instead of single

region)
• Larger budget and production value (to resist
Hollywood production)
• Cultural and filming technology exchange (for
less experience regions to learn from others)

A Battle of Wits 《墨攻》(2006) was a

joint-production between mainland China,
Hong Kong, Japan and South Korea.
 Pan-Asian Films by Peter Chan
• In 2000, Peter Chan (陳可辛)
established Applause Pictures, a
company dedicated to producing high
quality Pan-Asian films intended
primarily for Asian audiences.
• One of the films “Three” 《三更》（
2002）was co-directed by directors
from Hong Kong (Peter Chan himself),
South Korea and Thailand.
 Looking forward: Hong Kong Cinema and
Pan-Asian Co-production
Read this article “Peter Chan on the 20-Year Journey to Launch
of Asia-Based TV Studio Changin’ Pictures” (Oct 2022):
https://variety.com/2022/global/news/peter-chan-asia-tv-
changin-pictures-1235394294/

• “Chan’s thesis is that global audiences are hungry for Asian

content but have not been able to access it easily under legacy
film and TV distribution systems. With streaming making
everything accessible everywhere, and audiences no longer
balking at subtitles, quality Asian drama can and will travel.”
• “The only difference between now and 20 years ago is that the
cost of distribution and exhibition are much lower [on
streaming] and that we know audiences are crazy for Asian
content.”
 Documentaries
• In recent years, more documentaries are produced and released
publicly in Hong Kong. They focus on Hong Kong local topics –
about current social issues, cultural heritage, youth or artists.

Cheuk Cheung （卓翔） directed two

critically acclaimed documentaries “My
Way” 《乾旦路》(2011) and “Bamboo
Theatre” 《戲棚》 (2019), both related to
the Cantonese Opera in Hong Kong.

Wong Siu-pong （黃肇邦） directed two

critically acclaimed documentaries “Snuggle”
《伴生》(2016) and “3cm” (2019), about
ordinary people facing death and rare disease
19
patients respectively.
 “KJ” 《音樂人生》 (2009)
and “The Taste of Youth”
《少年滋味》 (2016), both
directed by Cheung King-
wai (張經緯), are
documentaries about
youth in Hong Kong.

“I’ve got the Blues” 《水底行走

的人》 (2018) directed by Angie
Chen (陳安琪) and “Keep
Rolling” 《好好拍電影》 (2020),
directed by Man Lim-chung (文
念中), are documentaries about
artist Wong Yan-kwai and film
director Ann Hui respectively.
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How Technology and Internet Might Affect the
Production and Circulation of Films on
Social Issues
• New technologies allow lower production cost and
more convenient production process.

• Reality-driven representations are becoming more

and more immediate.

• Traditionally, films or documentaries on social

issues do not have high box office revenues, and are
not welcome by cinema circuits. With online movie
streaming platforms, these films and documentaries
are able to reach the audience. 21
Hayward (2006)
 Questions to Consider
• During 2022 and 2023, several Hong Kong movies
gained huge box office success, in particular the
courtroom drama “A Guilty Conscience”(《毒舌大狀
》), which became the highest-grossing Asian film of
all time in Hong Kong. What do you think about the
future of Hong Kong film industry? Discuss the
possible future based on your observation and
understanding – you may consider the industry, the
audiences and their behavior, technology, as well as
the social and cultural environment. (Examples of hot
topics include: cinemas vs streaming; online videos vs
feature films; different styles of young and older
generation of filmmakers)

• How might the young generation revive the Hong Posters of A Guilty
Kong film industry? Discuss and consider the impact Conscience (2023),
Warriors of Future
from both sides – production and audience. (2022) and 22
Six (2022)
Table for
Part 2 –

Popular Music Industry

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 Popular Music Industry and
Popular Music Culture

Simon Frith (2001: p. 27):

•“Popular music culture isn’t the effect of a popular
music industry, rather, the music industry is an aspect
of popular music culture. “ (流行音樂文化不是流行音
樂工業造成的結果；相反，音樂工業是流行音樂文化的
一個面向。*）

•“The industry has a significant role to play in that

culture, but it doesn’t control it and, indeed, has
constantly to respond to changes within it.”
* Chinese translation quoted from :蔡佩君、張志宇譯，何東洪、何穎怡審閱(2005)《劍橋大學
搖滾與流行樂讀本》，台北：商周出版 24
 Questions to Consider

• What might be the roles of music when you engage

with other people and build relationships with
them? (e.g. with your family members, friends,
lovers, or even strangers)

Commercial value is not the only important value of

music. When we examine popular music and music
industry, its social, cultural and political roles may also
be significant.

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 Mainstream Music Industry :
Star-making
Simon Frith (2001:35)
• “Star-making, rather than record selling, is a record
company’s core activity; the latter is dependent on the
former. This means that the music an act or artist makes
has to fit a star image and personality; these days as much
money is spent on image making as on music-making and
no one gets signed to a record label without a discussion of
how they will be marketed.”

• The image of the star is transferable and moves between

different media – the music industry is increasingly
connected to other media industries – TV, radio, movies,
books, advertising, social media, etc. 26
 Music 2.0 – Two Main Shifts
The introduction of new technologies has resulted in
the two main shifts:
1. Increase in accessibility and on-demand
consumption of digital music through either legal
or illegal channels

2. An ongoing process of ‘disintermediation’ where

a more direct relationship is forged between
artists and their audiences

Cited from Longhurst and Bogdanovic (2014: 35－36）; Frith (2001:p.32) 27

 Music 2.0 – ‘Disintermediation’
• Disintermediation: possibility to cut out record companies,
publishers, distributors, or retailers – musicians can
directly send their works to the audience, or listeners can
download music from record companies/musicians
directly (cutting out retailers)

• No longer need to rely on mass media (TV, radio) for

promotion – musicians (or music labels) can directly
promote their works to the audience through social media.

• This trend may be particularly important for

independent/non-mainstream musicians, small music
labels or amateurs.
Cited from Longhurst and Bogdanovic (2014: 35－36）; Frith (2001:p.32) 28
Music 2.0: New Music Industry Landscape
Three basic features of the new music industry
landscape

1. Connectivity vs Control – high connectivity and

little control, where members of the audience connect
with each other and the artists (in the past, music
companies acted as important intermediaries and had
high control)

2. Service vs Product – new music economy ought to be

thought of as a ‘service’ rather than a ‘physical product’

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Longhurst and Bogdanovic (2014: 35-36）
Music 2.0: New Music Industry Landscape

3. Amateur vs Professional – the rise of amateur or the

non-professional who makes a creative impact – new
technologies promote and facilitate new forms of
creative output where members of the audience can
‘create, remix and publish content online’ and artists
can directly reach previously unreachable audiences

30
Longhurst and Bogdanovic (2014: 35-36）
 Global Trends
Quoted from IFPI “Engaging with Music 2022” (a global report)
(https://www.ifpi.org/wp-content/uploads/2022/11/Engaging-with-Music-
2022_full-report-1.pdf )

• Time spent listening to music each week is up: On average,

music consumers spend 20.1 hours listening to music each week

• Licensed audio streaming: 74% of people said they listen to music

through licensed audio streaming services (subscription and ad-
supported)

• Music’s positive impact on wellbeing: 69% said music is

important to their mental health

Do you think there are similar trends in Hong Kong?

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Importance of Indie Labels and Musicians
Role of small ‘independent’ record companies (“indie
labels”)
• their creativity can meet the unmet demand on the
part of the public for different sounds
• broke free from the standardized products of the
dominant record companies - better able to
represent the aspirations and feelings of their artists
and audiences than the large corporations

The rise of new media has also made it easier for indie groups
to disseminate their works to audience, and for fans and
critics to spread their opinions, in Hong Kong or even
overseas.

32
Chu (2017: 191-192) Longhurst and Bogdanovic (2014: 28-34)
In recent years, more and more singers or bands
establish their own record companies or labels.
What might be the pros and cons?

Terence Lam’s (林家謙) Starting from 2016, the Kay Tse（謝安琪)

music and records are band Rubberband established her own label
produced by Terence produced their music ”Light White Studio” in
Lam Production & Co. under their own record 2021 and produced music
label R Flat. under this label.
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 Questions to Consider

• What do you think about the future of Hong Kong

music industry? Discuss the possible future based
on your observation and understanding – you may
consider the industry, the audiences and their
behavior, technology, as well as the social and
cultural environment.

• How might the young generation revive the Hong

Kong music industry? Discuss and consider the
impact from both sides – production and audience.

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 References
This set of lecture notes includes quotations and summary of ideas from the following:
Cheung, R. (2016). New Hong Kong cinema : Transitions to becoming Chinese in 21st-century East Asia.
New York : Berghahn Books. pp.195-202
Chu, Y.W. (2017) Hong Kong Cantopop : a concise history. Hong Kong: HKU Press, pp. 184-196
Frith, S. (2001) “The Popular Music Industry.” The Cambridge Companion to Pop and Rock. Ed. Simon
Frith, Will Straw and John Street. New York: Cambridge University Press. pp. 26-52.
Hayward, S. (2006). Cinema studies: The key concepts. London: Routledge. P.128 (on “documentary)
IFPI (2022), “Engaging with Music 2022” report
(https://www.ifpi.org/wp-content/uploads/2022/11/Engaging-with-Music-2022_full-report-1.pdf)
Leung, K., Chiu, P. and Cheung T. (2019 April 6). Hong Kong film industry gets major breakthrough
with mainland China deal, but Chief Executive Carrie Lam says it comes with conditions. SCMP.
https://www.scmp.com/news/hong-kong/hong-kong-economy/article/3006339/new-deal-opens-
mainland-china-hong-kong-film
Longhurst, B. and Bogdanović. D. (2014) Popular Music and Society. 3rd ed. Cambridge : Polity. pp.25-91
Lu S. (2015) Commentary: Dimension of Hong Kong Cinema . In A Companion to Hong Kong Cinema.
Ed. Esther M.K. Cheung, Gina Marchetti and Esther C.M. Yau. Hoboken, NJ: John Wiley & Sons.
pp.116-120
Wong, C. C. E. (2010) “The Working of Pop Music Culture in the Age of Digital Reproduction.”
Doctoral Thesis. University of Hong Kong,.
Yau E. C.M. (2015) Watchful Partners, Hidden Currents Hong Kong Cinema Moving into the
Mainland of China. in A Companion to Hong Kong Cinema. Ed. Esther M.K. Cheung, Gina Marchetti
and Esther C.M. Yau. Hoboken, NJ: John Wiley & Sons. pp.17-49
Commerce and Economic Development Bureau of HKSAR: https://www.cedb.gov.hk/en/
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Pictures from various Internet sources