Unlike many film industries, Hong Kong has enjoyed little if any direct government support, through either subsidies or import quotas. That is a thoroughly commercial cinema: highly corporate, concentrating on crowd-pleasing genres like comedy and action, and relying heavily on formulas, sequels and remakes. Source: pengeluaran hk 2020
Hong Kong film derives numerous elements from Hollywood, such as for example certain genre parameters, a “thrill-a-minute” philosophy and fast pacing and film editing. However the borrowings are filtered through factors from traditional Chinese drama and art, particularly a penchant for stylisation and a disregard for Western standards of realism. This, coupled with a fairly easy and loose approach to the filmmaking process, plays a part in the energy and surreal imagination that foreign audiences note in Hong Kong cinema.
This year 2010 2010, the box office gross in Hong Kong was HK$1.339 billion and in 2011 it had been HK$1.379 billion. There have been 56 Hong Kong films and 220 foreign films released in 2011.
In 2017, the box office gross was HK$1.85 billion weighed against HK$1.95 billion in 2016. 331 films were released in 2017, dropped from 348 the entire year before.
The star system
According to McDonald, a star system emerged in Hollywood as talent scouts, coaches, and publicists were connected with finding performers and making them into stars. In the vertically integrated Hollywood film industry of the 1920s, 1930s, and 1940s, these tasks were all undertaken by the studios themselves. The studios made the stars and, as a result of notoriously restrictive terms imposed by exclusive services contracts, the studios also owned the stars (McDonald, 2000). As is common in commercial cinema, the industry’s heart can be an extremely developed star system. In earlier days, beloved performers from the Chinese opera stage often brought their audiences with them to the screen. For days gone by 3 or 4 decades, television is a significant launching pad for movie stardom, through acting courses and widely watched drama, comedy and variety series made available from both major stations. Potentially more important could be the overlap with the Cantonese pop music industry. Many, if not most, celebrities have recording sidelines, and vice versa; this has been a key internet marketing strategy in a entertainment industry where American-style, multimedia promotional initiatives have until been little used (Bordwell, 2000). In today’s commercially troubled climate, the casting of young Cantopop idols (such as for example Ekin Cheng and the Twins) to attract the all-important youth audience is endemic.
In the tiny and tightly knit industry, actors (along with other personnel, such as directors) are kept very busy. During previous boom periods, the number of movies made by an efficient figure within a year could routinely reach double digits.
Films usually are low-budget compared to American films. A substantial release with a significant star, directed at “hit” status, will typically cost around US$5 million (Yang et al., 1997). A low-budget feature can go well below US$1 million. Occasional blockbuster projects by the biggest stars (Jackie Chan or Stephen Chow, for instance) or international co-productions (“crossovers”) directed at the global market, can go as high as US$20 million or higher, but they are rare exceptions. Hong Kong productions can nevertheless achieve an even of gloss and lavishness greater than these numbers might suggest, given factors such as lower wages and value of the Hong Kong dollar.