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首页> 外文期刊>Journal of international management >Policy and creative strategies: Hong Kong CEPA films in the China market
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Policy and creative strategies: Hong Kong CEPA films in the China market

机译：政策和创造性战略：香港CEPA电影在中国市场

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摘要

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.
机译：本文介绍了在2004年CEPA介绍的CEPA框架下与中国市场进行了近代经济伙伴关系安排（CEPA）电影的创意策略。电影部门的CEPA目标之一是在洪之间提高共同生产孔和大陆。在过去的10年里，CEPA大大改变了香港电影与中国的关系，因为主要电影董事已搬到生产CEPA电影，从而进入快速增长的内地市场。这一转变被认为是香港特区整体大陆化的一部分，并随后消失了不同的本地身份。本文通过提出两种案例研究来查看此观点，以了解是否确实香港CEPA图片缺乏香港元素。案例研究分析了两种CEPA大块电影的文本元素，美人鱼（DIR。Stephen Chow，2016）和虎山3D（Dir.Sui Hark，2014）。提交人认为，由于审查制约，所提交人士旨在掌握对董事会的董事旧工程的董事旧作品辩论，允许香港电影制片人恢复并扩大香港电影的签名创意战略。

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