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1909 to World War II During its early history
Hong Kong"s cinema played second fiddle to that of the mainland
particularly the city of Shanghai
which was then the movie capital of the Chinese-speaking world. Very little of this work is extant: one count finds only four films remaining out of over 500 produced in Hong Kong before World War II (Fonoroff
1997). Detailed accounts of this period
especially those by non-Chinese speakers
therefore have inherent limitations and uncertainties. Pioneers from the stage As in most of China
the development of early films was tightly bound to Chinese opera
for centuries the dominant form of dramatic entertainment. Opera scenes were the source for what are generally credited as the first movies made in Hong Kong
o 1909 short edies entitled Stealing a Roasted Duck and Right a Wrong with Earthenware Dish. The director was stage actor and director Liang Shaobo. The producer was an American
Benjamin Brodsky (sometimes trliterated "Polaski")
one of a number of Westerners who helped jumpstart Chinese film through their efforts to crack China"s vast potential market. 图片参考：.yimg/iugc/rte/ *** iley_1 2008-09-29 20:48:54 补充： Credit for the first Hong Kong feature film is usually given to Zhuangzi Tests His Wife (1913)
which also took its story from the opera stage
was helmed by a stage director and featured Brodsky"s involvement. 2008-09-29 20:49:01 补充： Director Lai Man-Wai (Li Ming Wei or Li Minwei in Mandarin) was a theatrical colleague of Liang Shaobo"s who would bee known as the "Father of Hong Kong Cinema". 2008-09-29 20:49:24 补充： In another borrowing from opera
Lai played the role of wife himself. His brother played the role of hu *** and
and his wife a supporting role as a maid
making her the first Chinese woman to act in a Chinese film
a milestone delayed by longstanding taboos regarding female performers (Leyda
1972). 2008-09-29 20:49:29 补充： Zhuangzhi was the only film made by Chinese American Film
founded by Lai and Brodsky as the first movie studio in Hong Kong
and was never actually shown in the territory (Stokes and Hoover
1999). 2008-09-29 20:50:09 补充： The following year
the outbreak of World War I put a large crimp in the development of cinema in Hong Kong
as Germany was the source of the colony"s film stock (Yang
2003). It was not until 1923 that Lai
his brother and their cousin joined with Liang Shaobo to form Hong Kong"s first entirely 2008-09-29 20:50:14 补充： Chinese-owned-and-operated production pany
the Minxin (or China Sun) Company. In 1924
they moved their operation to the Mainland after ernment red tape blocked their pl to build a studio. (Teo
1997) 2008-09-29 20:50:37 补充： The advent of sound With the popularity of talkies in the early 1930s
China"s many
mutually unintelligible
spoken dialects had to be grappled with. Hong Kong was a major center for Cantonese
one of the most widely spoken
and political factors on the Mainland provided other opportunities. 2008-09-29 20:50:42 补充： The ernment of the Kuomintang or Nationalist Party wanted to enforce a "Mandarin-only" policy and was hostile to Cantonese filmmaking in China. It also banned the wildly popular wuxia genre of martial arts swordplay and fantasy
accusing it of promoting superstition and violent anarchy. 2008-09-29 20:50:54 补充： Cantonese film and wuxia film remained popular despite ernment hostility
and the British colony of Hong Kong became a place where both of these trends could be freely served. The name (粤语长片
Jyutping: jyut6 jyu5 coeng4 pin3*2) soon became the standard name for black and white Cantonese movies. 2008-09-29 20:51:14 补充： Filmed Cantonese operas proved even more successful than wuxia and constituted the leading genre of the 1930s. Major studios that thrived in this period were Grandview
Universal
Nanyue and Tianyi 2008-09-29 20:51:19 补充： (the last an early incarnation of the Shaw family dynasty that would bee the most enduring and influential in Chinese film). (Teo
1997) 2008-09-29 20:51:48 补充： The advent of war Another important factor in the "30s was the Sino-Japanese War. "National defense" films - patriotic war stories about Chinese resisting the Japanese invasion - became one of Hong Kong"s major genres; 2008-09-29 20:51:54 补充： notable titles included Kwan Man Ching"s Lifeline (1935)
Chiu Shu Sun"s Hand to Hand Combat (1937) and Situ Huimin"s March of the Partis (1938). The genre and the film industry were further boosted by emigre film artists and panies when Shanghai was taken by the Japanese in 1937. 2008-09-29 20:52:13 补充： This of course came to an end when Hong Kong itself fell to the Japanese in December 1941. But unlike on the Mainland
the occupiers were not able to put together a collaborationist film industry. They managed to plete just one propaganda movie
2008-09-29 20:52:20 补充： The Attack on Hong Kong (1942; aka The Day of England"s Collapse) before the British returned in 1945 (Teo
1997). A more important move by the Japanese may have been to melt down many of Hong Kong"s pre-war films to extract their silver nitrate for military use (Fonoroff
1997). 2008-09-29 20:52:51 补充： The 1940s-1960s Posar Hong Kong cinema
like posar Hong Kong industries in general
was catalyzed by the continuing influx of capital and talents from Mainland China. 2008-09-29 20:52:57 补充： This became a flood with the 1946 resumption of the Chinese Civil War (which had been on hold during the fight against Japan) and then the 1949 Communist victory. 2008-09-29 20:53:09 补充： These events definitively shifted the center of Chinese-language cinema to Hong Kong. The colony also did big business exporting films to Southeast Asian countries (especially but not exclusively their large Chinese expatriate munities) and to Chinatowns in Western countries (Bordwell
2000). 2008-09-29 20:53:21 补充： Competing languages The posar era also cemented the bifurcation of the industry into o parallel cinemas
one in Mandarin
the dominant dialect of the Mainland emigres
and one in Cantonese
the dialect of most Hong Kong natives. 2008-09-29 20:53:53 补充： Mandarin movies had much higher budgets and more lavish production. Reasons included their enormous export market; the expertise
capital and prestige of the Shanghai filmmakers; 2008-09-29 20:53:59 补充： and the cultural prestige of Mandarin
the official language of China and the tongue of the Chinese cultural and political elite. For decades to e
Cantonese films
though sometimes more numerous
were relegated to second-tier status (Leyda
1972). 2008-09-29 20:54:27 补充： Another language-related milestone occurred in 1963: the British authorities passed a law requiring the subtitling of all films in English
supposedly to enable a watch on political content. 2008-09-29 20:54:41 补充： Making a virtue of necessity
studios included Chinese subtitles as well
enabling easier access to their movies for speakers of other dialects. (Yang
2003) Subtitling later had the unintended consequence of facilitating the movies" popularity in the West. 2008-09-29 20:55:38 补充： Years of trformation (1970s) Mandarin-dialect film in general and the Shaw Brothers studio in particular began the 1970s in apparent positions of unassailable strength. Cantonese cinema virtually vanished in the face of Mandarin studios and Cantonese television
2008-09-29 20:55:49 补充： which became available to the general population in 1967; in 1972 no films in the local dialect were made (Bordwell
2000). 2008-09-29 20:56:10 补充： The Shaws saw their longtime rival Cathay ceasing film production
leaving themselves the only megastudio. The martial arts subgenre of the kung fu movie exploded into popularity internationally
2008-09-29 20:56:15 补充： with the Shaws driving and dominating the wave. But changes were beginning that would greatly alter the industry by the end of the decade. 2008-09-29 20:57:26 补充： 1980s-early 1990s: the boom years The 1980s and early "90s saw seeds planted in the "70s e to full flower: the triumph of Cantonese
the birth of a new and modern cinema
superpower status in the East Asian market
and the turning of the West"s attention to Hong Kong film. 2008-09-29 20:57:46 补充： A cinema of greater technical polish and more sophisticated visual style
including the first forays into up-to-date special effects technology
sprang up quickly. To this surface dazzle
the new cinema added an eclectic mixing and matching of genres
2008-09-29 20:57:52 补充： and a penchant for pushing the boundaries of sensationalistic content. Slapstick edy
sex
the supernatural
and above all action (of both the martial arts and cops-and-criminals varieties) ruled
occasionally all in the same film. 2008-09-29 21:05:42 补充： Stephen Chow
the most consistently popular screen star of the "90s
directed and starred in Shaolin Soccer (2001) and Kung Fu Hustle (2004); these used digital special effects to push his 2008-09-29 21:05:47 补充： distinctive humor into new realms of the surreal and became the territory"s o highest-grossing films to date
garnering numerous awards locally and internationally.
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