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This is a list of films produced in Hong Kong ordered by decade and year of release in separate pages. For film set in Hong Kong and produced elsewhere see List of films set in Hong Kong . Zhuangzi Tests His Wife (1913), the first Hong Kong narrative film
The Hong Kong New Wave started in 1979 with the release of numerous notable films. During the 1980s, the Hong Kong film industry began to flourish. Film emerged as the most popular form of entertainment in Hong Kong, in part because many Chinese households did not have a TV at the time. [ 8 ]
First film made by a Hong Kong studio, but never screened in Hong Kong. [1] [3] 1922: Rouge: Lai Man-Wai, Lai Pak-hoi: Lai Man-Wai, Lim Cho Cho: Drama: First feature film produced by a Hong Kong company , but shot in Guangzhou. [3] 1925–30: No films were made in Hong Kong as a result of the Great Canton–Hong Kong strike. [4] 1931
The year’s movie calendar was significantly altered by last year’s prolonged work stoppages. Partly to help fill such voids, the nation’s three largest theater chains – AMC, Regal and ...
The cinema of Hong Kong (Chinese: 香港電影) is one of the three major threads in the history of Chinese-language cinema, alongside the cinema of China and the cinema of Taiwan. As a former Crown colony , Hong Kong had a greater degree of economic freedom than mainland China and Taiwan , and developed into a filmmaking hub for the Chinese ...
Hong Kong’s film industry moved ahead on several fronts over the weekend after coronavirus-mandated lockdowns were reduced. But the return to business is likely to be uneven. Cinemas reopened on ...
UA Shatin, at New Town Plaza; opened in 1985 as the first UA cinema in Hong Kong; [22] closed in June 2018, succeeded by MCL Movie Town; UA Cinema @ Airport, at Terminal 2, Hong Kong International Airport; houses the third (chronologically) IMAX theater in Hong Kong; [23] closed in 2019 due closure of Hong Kong International Airport Terminal 2
Despite its Hong Kong pedigree (Derek Yee directs) Shinjuku Incident forgoes flashy action scenes in favor of old fashioned moralism." [ 7 ] Perry Lam of Muse was unhappy with the more inclusive cast, complains that the film is an example of Hong Kong's supposed eroding cinematic identity: "OK, we get the point – mainlanders have always been ...