To work or not to work : the dilemma of Hong Kong film labour in the age of mainlandization

Mirana M. SZETO, Yun-Chung CHEN

Research output: Journal PublicationsJournal Article (refereed)

Abstract

This paper analyzes the working conditions of Hong Kong film labor amidst rapid mainlandization of film production. In fact, it is the latest round of production restructuring. Hong Kong film production in the post-WWII era began in the 1950s as a studio system. It transformed into a mixed system in the 1980s, a flexible independent system in the 1990s, and then extended into a co-production system in the 2000s. In this continuous restructuring process, Hong Kong film production reached its heyday in the early 1990s, producing nearly 250 feature films per year, employing over 15,000 people, with nearly eighty percent gross local market share. Production then steeply declined. Between 1992 and 1998 overseas revenue fell 85 percent. Local market share plummeted to 25 percent in 2008 (HKMPIA, 2010; HKCSD, 2010; Chan et al., 2010). The two-decades-long decline was blamed on assaults from copyright infringement, competition from Hollywood and other Asian countries, and investors’ preferring to park their money in more ludicrous real estate speculation than taking risks investing in film. These seem to be global explanations, but we also find more context specific and structural reasons. Our paper will focus on an ethnographic analysis of present film labor conditions, and a context-specific analysis of structural political-economy and geo-historical causes.
Original languageEnglish
JournalJump Cut: A Reveiw of Contemporary Media
Volume55
Publication statusPublished - 2013
Externally publishedYes

Fingerprint

film production
Hong Kong
labor
market share
restructuring
feature film
coproduction
real estate
speculation
assault
working conditions
overseas
investor
political economy
revenue
money
cause
present

Cite this

@article{fda7df680f56419b89d464ffd5f80496,
title = "To work or not to work : the dilemma of Hong Kong film labour in the age of mainlandization",
abstract = "This paper analyzes the working conditions of Hong Kong film labor amidst rapid mainlandization of film production. In fact, it is the latest round of production restructuring. Hong Kong film production in the post-WWII era began in the 1950s as a studio system. It transformed into a mixed system in the 1980s, a flexible independent system in the 1990s, and then extended into a co-production system in the 2000s. In this continuous restructuring process, Hong Kong film production reached its heyday in the early 1990s, producing nearly 250 feature films per year, employing over 15,000 people, with nearly eighty percent gross local market share. Production then steeply declined. Between 1992 and 1998 overseas revenue fell 85 percent. Local market share plummeted to 25 percent in 2008 (HKMPIA, 2010; HKCSD, 2010; Chan et al., 2010). The two-decades-long decline was blamed on assaults from copyright infringement, competition from Hollywood and other Asian countries, and investors’ preferring to park their money in more ludicrous real estate speculation than taking risks investing in film. These seem to be global explanations, but we also find more context specific and structural reasons. Our paper will focus on an ethnographic analysis of present film labor conditions, and a context-specific analysis of structural political-economy and geo-historical causes.",
author = "SZETO, {Mirana M.} and Yun-Chung CHEN",
year = "2013",
language = "English",
volume = "55",
journal = "Jump Cut: A Reveiw of Contemporary Media",
issn = "0146-5546",

}

To work or not to work : the dilemma of Hong Kong film labour in the age of mainlandization. / SZETO, Mirana M.; CHEN, Yun-Chung.

In: Jump Cut: A Reveiw of Contemporary Media, Vol. 55, 2013.

Research output: Journal PublicationsJournal Article (refereed)

TY - JOUR

T1 - To work or not to work : the dilemma of Hong Kong film labour in the age of mainlandization

AU - SZETO, Mirana M.

AU - CHEN, Yun-Chung

PY - 2013

Y1 - 2013

N2 - This paper analyzes the working conditions of Hong Kong film labor amidst rapid mainlandization of film production. In fact, it is the latest round of production restructuring. Hong Kong film production in the post-WWII era began in the 1950s as a studio system. It transformed into a mixed system in the 1980s, a flexible independent system in the 1990s, and then extended into a co-production system in the 2000s. In this continuous restructuring process, Hong Kong film production reached its heyday in the early 1990s, producing nearly 250 feature films per year, employing over 15,000 people, with nearly eighty percent gross local market share. Production then steeply declined. Between 1992 and 1998 overseas revenue fell 85 percent. Local market share plummeted to 25 percent in 2008 (HKMPIA, 2010; HKCSD, 2010; Chan et al., 2010). The two-decades-long decline was blamed on assaults from copyright infringement, competition from Hollywood and other Asian countries, and investors’ preferring to park their money in more ludicrous real estate speculation than taking risks investing in film. These seem to be global explanations, but we also find more context specific and structural reasons. Our paper will focus on an ethnographic analysis of present film labor conditions, and a context-specific analysis of structural political-economy and geo-historical causes.

AB - This paper analyzes the working conditions of Hong Kong film labor amidst rapid mainlandization of film production. In fact, it is the latest round of production restructuring. Hong Kong film production in the post-WWII era began in the 1950s as a studio system. It transformed into a mixed system in the 1980s, a flexible independent system in the 1990s, and then extended into a co-production system in the 2000s. In this continuous restructuring process, Hong Kong film production reached its heyday in the early 1990s, producing nearly 250 feature films per year, employing over 15,000 people, with nearly eighty percent gross local market share. Production then steeply declined. Between 1992 and 1998 overseas revenue fell 85 percent. Local market share plummeted to 25 percent in 2008 (HKMPIA, 2010; HKCSD, 2010; Chan et al., 2010). The two-decades-long decline was blamed on assaults from copyright infringement, competition from Hollywood and other Asian countries, and investors’ preferring to park their money in more ludicrous real estate speculation than taking risks investing in film. These seem to be global explanations, but we also find more context specific and structural reasons. Our paper will focus on an ethnographic analysis of present film labor conditions, and a context-specific analysis of structural political-economy and geo-historical causes.

UR - http://commons.ln.edu.hk/sw_master/3577

M3 - Journal Article (refereed)

VL - 55

JO - Jump Cut: A Reveiw of Contemporary Media

JF - Jump Cut: A Reveiw of Contemporary Media

SN - 0146-5546

ER -