Mainland-HK Film Co-production Since The Reform And Open-up Policy

Along with the reform and open-up policy in China, the Mainland-HK film co-production has grown for more than 20 years. Within this period of time, the film industry in China becomes mature and both Hong Kong and Mainland China benefit from the advantage of trans-regional co-operation and cultural exchange. By the trend of globalization and regional economic alliance, with the complementation of Hong Kong and Chinese film industries, the Mainland-HK film co-production creates herself a unique literate form and develops an important economic model.With the guidance of film history and political economic theory, the study shows how the Mainland and Hong Kong filmmaking integrated with their social, political, economic, cultural and art environments. The bilateral environments accelerated the development of film industry and matured the production process. However, with the differences in political systems, social and cultural structures, Hong Kong and Mainland filmmakers even stopped their footsteps; On the other hand, under the influence of globalization, the union of social, political, economic, cultural and art environments creates a new seed to sprout again.To study the Chinese film property, production procedure will be an essential topic to investigate. Based on analysis, barriers have been existing in the co-operation process of Mainland China and Hong Kong. As a result, four areas of corresponding strategies are sketching out; they are: production strategy, cultural strategy, ideology strategy and economic strategy. Besides, international co-operation is a trend for most of the industries nowadays; inter-country team-up is a matter of course. Meanwhile, under the attack of Hollywood films, HK film almost collapsed in the markets of South-east Asia and Taiwan. However, with the prosperity of Chinese economy, film industry is sprouting. Under this circumstance, the team-up filmmakers between Mainland and HK is inevitable. Though there are differences between the two cultures, it's still provided evidently that we have a precise reform between the two systems and good coordination in future.To sum up, the study emphasizes on three areas in film co-production between HK and Mainland China, which are conflict, integration and mutual advantages. The text also decomposes the essential elements of being integrated of filmmaking; it highlights how to take advantage of co-operation. The study aims at studying current situation in Chinese film property, so as to shed a light on the whole Chinese film as a whole and creative & cultural industries in future.