Ruby Cheung - Böcker

Global Film Policies challenges conventional analyses of film policy as a stand-alone public policy confined within national boundaries and usually focused on supports for film production. The book argues for a more multi-faceted approach, extending beyond national boundaries and broadening its scope to recognise how other forms of policy pertain to film, including tax, labour, language and education.A team of experts in various areas of film and media studies critically analyse specific areas of film policy and engage with other public policy programmes, related concepts and/or phenomena. Each chapter brings together a general discussion of the conceptual and critical issues at stake, with specific references to particular territorial or historical contexts, institutions and policy initiatives that illuminate the more general issues. Case studies from different continents illustrate how film-related policies work with other public policies to maintain their influence not just on the film sector but also society more generally.This book will be an important resource for scholars and students studying global film policy in the areas of film, media or creative industries and business.

The trajectory of Hong Kong films had been drastically affected long before the city’s official sovereignty transfer from the British to the Chinese in 1997. The change in course has become more visible in recent years as China has aggressively developed its national film industry and assumed the role of powerhouse in East Asia’s cinematic landscape. The author introduces the “Cinema of Transitions” to study the New Hong Kong Cinema and on- and off-screen life against this background. Using examples from the 1980s to the present, this book offers a fresh perspective on how Hong Kong-related Chinese-language films, filmmakers, audiences, and the workings of film business in East Asia have become major platforms on which “transitions” are negotiated.

The trajectory of Hong Kong films had been drastically affected long before the city’s official sovereignty transfer from the British to the Chinese in 1997. The change in course has become more visible in recent years as China has aggressively developed its national film industry and assumed the role of powerhouse in East Asia’s cinematic landscape. The author introduces the “Cinema of Transitions” to study the New Hong Kong Cinema and on- and off-screen life against this background. Using examples from the 1980s to the present, this book offers a fresh perspective on how Hong Kong-related Chinese-language films, filmmakers, audiences, and the workings of film business in East Asia have become major platforms on which “transitions” are negotiated.

Starting with this point, this book studies closely Hong Kong’s new indie cinema of the 2010s from political, economic, social, cultural, and film industrial perspectives, arguing that this indie cinema was vital to the long-term sustainability of the city’s film industry.