Narrative Space Construction In The Co-production Made By Hong Kong And Mainland During CEPA Decade

The history of co-production by Hong Kong and mainland began in the1980s. Itwent through the preliminary development period when Hong Kongdominated,active development with Taiwan’s capital infusion in the early90s,flagging period from97to2003, and CEPA promoting period since2004. TheMainland and Hong Kong Closer Economic Partnership Arrangement (CEPA) signedin2003with milestone significance. It not only gives the hope for the Hong Kongfilm recovery but also opens a new era of co-production. This thesis pays attention tothe developmental period from2004to2013which showed the coexistence betweenmelange and confliction. Both the number and box office were increasing rapidlyabout the co-production. From2005to2009, the number of mainland and Hong kongco production increased from20to29, and the box office soared to2,361billion yuanfrom5,79hundred million yuan. In2013, the co-production has become the mainstayof domestic movie box office. It contributed7680000000accounting for about35%of total China movie box office.The mature operate system and creative experiencewere introduced to mainland that promoted the creative concept and marketingstrategy, had an important effect on the establishment of economic and standard inmainland film flied. In addition, the co-production had become mainstream in market,and comprised a new Chinese movie alliance which competed with Hollywoodblockbuster. On the other hand, some co-productions fudged plot and had poorapology just to cater to audience taste and make great profits. The Hong Kong andmainland changed the primary blindly optimism to calm and dispassionate gazeduring the decade. Based on text and statistic analysis about some co-productiondirected by Hong Kong, this thesis tries to conclude the feature in narrative spaceconstruction and explore the culture identity before and after CEPA by means ofdialectical unity among space, society and history.The four chapters included in this thesis research the construction and featureconcealed in the narrative space of co-production, and excavated Hong Kong’identities and cultural identity after CEPA. The introduction is comprise of the topicbackground, current situation, research approach and significance. The secondchapter reviews the space concept history and narratology academic diversions,analyzes the representational relationship between space and culture, and brieflydescribes the narrative space definition and genre.Taking a part of co-productions asresearch sample from2004to2013,The third section explains co-production “NoGeography Space” in terms of regional strategy,display style, and cultural senseinferred from sentimental space. With space of social and historical perspective,Thefourth chapter discusses identities which found root converted to settle down andcultural identity that three dimension space of power shifted to ‘city’ and ‘country’distributary. What makes a difference in the thesis is not only breaks the linear study practiceaccording to time dimension in passed research, but also gets rid of traditional viewon cultural identity based on mainland Chinese image change. This thesis complieswith narrative space dimension in order to summarize co-production “No GeographySpace” and impact on culture. Using dialectical unity of space, society and history,the dissertation digs identities and cultural identity before and after CEPA.