Hong Kong movie
Hong Kong movie 香港 電影 |
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Film studios of Shaw Movie City - 邵氏影城 , Sai Kung 2006 | |
Chinese name | |
Long characters | 香港 電影 |
Abbreviation | 香港 电影 |
Pinyin | Xiānggǎng Diànyǐng |
Jyutping | Hoeng 1 gong 2 Din 6 jing 2 |
Alternative name | |
Long characters | 港 產 片 |
Abbreviation | 港 产 片 |
Pinyin | Gǎngchǎnpiàn |
Jyutping | Gong 2 caan 2 pin 3 * 2 |
Shaw Movie City Main Building - Wan Po Road, Sai Kung 2006 |
The Hong Kong film ( Chinese 香港 電影 / 香港 电影 , also 港 產 片 / 港 产 片 ) forms one of the three pillars of Chinese film alongside the films produced in mainland China and Taiwan . Hong Kong films have often played a pioneering role in the development of Chinese films. Among the Chinese-language films from China , Taiwan and Singapore , the Hong Kong film enjoys a good reputation with both domestic and international audiences, particularly because of its quality.
development
The first film in the Hong Kong film industry (( 電影 業 / 香港 电影 业 , Xiānggǎng Diànyǐngyè , Jyutping Hoeng 1 gong 2 Din 6 jing 2 jip 6 ) is considered to be “ Chuang Tzu Tests His Wife ” ( 莊子 試 妻 / 庄子 试 妻 - “Zhuangzi tests his wife ”) by and with Lai Man-wai from 1913. In the turmoil of the Chinese civil war , many directors , especially left-wing or socially committed, fled from the Kuomintang under Chiang Kai-shek to the British crown colony of Hong Kong , which is essential Hong Kong's later importance as an Asian film capital. Until the end of the Second World War, however, film production in Hong Kong was clearly overshadowed by Shanghai .
In view of the aggressive policies of the People's Republic of China and anti-communist measures by the government of the crown colony, the exiled left-wing filmmakers initially lost importance from 1949 onwards. Instead, a commercial cinema established itself that was less interested in social avant-garde than in entertainment and returns . In the 1950s, the Shaw Brothers , Cathay Studio ( 國泰 電影 公司 / 国泰 电影 公司 ), Cathay Film Productions ( 國泰 電影 製片 公司 / 国泰 电影 制片 公司 ) and Golden Harvest, the companies that made Hong Kong cinema up dominated in the late nineties or the turn of the millennium and whose names are still known today.
Hong Kong cinema gained worldwide influence in the 1970s when martial arts films found audiences in Europe and America. Reviled by movie buffs for simple plot structures, they offered their fans a demonstration of body control that was previously unknown in the West. The most important actor in this first wave of Kung Fu films was Bruce Lee , who quickly became a world star. His legacy was taken on by Jackie Chan , one of the most prolific kungfu performers to this day. One of the most influential directors and producers is Tsui Hark , who, together with Ching Siu-Tung, is responsible for classics of the wuxia genre such as the Swordsman trilogy.
During the 1990s, the Asian crisis also caused the Hong Kong film industry to decline. In addition, on July 1, 1997, the People's Republic of China took over Hong Kong as a special administrative region from the British. During this time, many people involved increasingly began to make films in Hollywood , such as Jackie Chan , John Woo and Chow Yun-Fat . When two of the biggest movie stars died in 2003 - Leslie Cheung on April 1st, due to suicide and Anita Mui on December 30th, due to cancer - some pessimists were already talking about the downfall of the film metropolis Hong Kong. To counter the crisis in the film industry, the Hong Kong government launched the Film Guarantee Fund in April 2003. On the waterfront in Tsim Sha Tsui , the Avenue of Stars features the names of popular movie stars. With the trilogy " Infernal Affairs " (2002, 2003, 2003) Andrew Lau and Alan Mak proved that groundbreaking action films can still be made in Hong Kong. In 2006, Martin Scorsese shot a remake called The Departed , which won several " Oscars ".
The action film genre received strong impulses from Hong Kong in the 1990s. This is what directors like Johnnie To or John Woo , who was called to Hollywood to revive the genre there, stand for. The influence of Hong Kong cinema on Hollywood is evident not least in films such as Matrix , which are based on the acrobatics of Hong Kong cinema, or in filmmakers like Quentin Tarantino , who openly profess their preference for Hong Kong films.
Despite a relative dominance of pure entertainment cinema, a few Hong Kong filmmakers emerged with sophisticated content in the 1990s. In addition to Wong Kar-wai , these were above all Ann Hui and Fruit Chan or Stanley Kwan .
Important directors (selection)
year | number |
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1975 | 109 |
1985 | 105 |
1995 | 154 |
2005 | 55 |
Source : World Film Production Report |
- Alan Mak
- Andrew Lau
- Ann Hui
- Ching Siu-Tung
- Fruit chan
- John Woo
- Johnnie To
- Michael Hui
- Stanley Kwan
- Tsui Hark
- Wong Kar-Wai
- Yuen woo-ping
Well-known actors (selection)
- Andy Lau
- Anita Mui
- Anthony Wong Chau-Sang
- Bruce Lee
- Chow Yun-Fat
- Danny Lee Sau-Yin
- Donnie Yen
- Gordon Liu Chia Hui
- George Lazenby
- Jackie Chan
- Jet Li
- Leslie Cheung
- Maggie Cheung
- Michael Hui
- Michelle Yeoh
- Ricky Hui
- Sam Hui
- Sammo Hung
- Tony Leung Chiu Wai
- Tony Leung Ka-Fai
- Zhang Ziyi
literature
- David Bordwell : Planet Hong Kong. Popular Cinema and the Art of Entertainment. Harvard University Press, Cambridge MA et al. 2000, ISBN 0-674-00214-8 (English, full text in the Google book search - online on Internet Archive , WorldCat and a review by Christof Decker (Berlin) ).
- Stefan Hammond, Mike Wilkins: Sex and Zen and a bullet in the head. The Hong Kong movie. (= Heyne film library . Volume 259 ). tape 32 . Heyne-Bücher , München 1999, ISBN 3-453-14055-9 ( full text in the Google book search - American English: Sex and Zen & a Bullet in a Head. The Essential Guide to Hong Kong's Mind-Bending Films. New York , London 1996. Translated by Karsten Prüßmann, first edition: Fireside / Titan Books, foreword by Jackie Chan , online review in welt.de or blog ).
- Petra Rehling : Nice pain. The Hong Kong cinema between traditions, the search for identity and the 1997 syndrome. In: Film Research. tape 2 . Bender, Mainz 2002, ISBN 3-9806528-6-6 ( full text in the Google book search - also dissertation Ruhr-Universität Bochum 2001, online review by Stefan Kramer (Konstanz) , Ekkehard Knörer - Jump-Cut magazine ).
- Ralph Umard: Film without borders. The new Hong Kong cinema. Kerschensteiner , Lappersdorf 1996, ISBN 3-931954-02-1 ( full text in the Google book search - online review by Siegfiied Kaltenecker (Vienna) ).
See also
- Asian Film Award
- Golden Horse Awards
- Golden Rooster (film award)
- Hong Kong Film Award
- Hundred Flowers Awards
- Mo lei tau
Web links
- Hong Kong Movie Database - HKMDB (Chinese, English)
- Hong Kong Cinemagic - HKC (English, French)
- Chinese Movie Database - CMDB (Chinese, English)
- Love HK Film - Movie Reviews Asian Movies (English)
- David Bordwell: HK Martial Arts Cinema (English)
- Hong Kong Movies - Culture and Criticism on Curlie.org (English)
- Hong Kong Movie Poster blog as a Web Archive (English)
- Shaw Movie City Hong Kong (English)
Individual evidence
- ↑ Staff Reporters: Hong Kong government plans film guarantee fund. In: www.screendaily.com. October 23, 2002, accessed October 4, 2018 .
- ^ Hong Kong Government - Film Guarantee Fund extended for two years. In: www.info.gov.hk. December 14, 2004, accessed October 4, 2018 .
- ↑ Hong Kong Film Development Council - Film Guarantee Fund approves new loan guarantee. In: www.fdc.gov.hk. June 6, 2007, accessed October 4, 2018 (Chinese, English).
- ↑ Weltfilmproduktionsbericht (English) ( memento of August 8, 2007 in the Internet Archive ), ( PDF extract 276kB), Screen Digest, June 2006, pp. 205–207, accessed on October 3, 2015 - online