During previous boom periods, the number of movies made by a successful figure in a single year could routinely reach double digits. This jump-started Lee's career into stardom and made martial arts and kung fu a global trend. After a minor role in Lethal Weapon 4 , he has gone on to star in several Hollywood films which have performed respectably and made a name for him with American audiences.
For decades to come, Cantonese films, though sometimes more numerous, were relegated to second-tier status Leyda, The lines between the mainland and Hong Kong industries are ever more blurred, especially now that China is producing increasing numbers of slick, mass-appeal popular films. The fad did little to engender mainstream respect in the West for the relatively new phenomenon of martial arts cinema. The greater access to the Mainland that came with the July handover to China, was not as much of a boon as hoped, and presented its own problems, particularly with regard to censorship. Andy Lau Efforts by local filmmakers to refinish their product have had mixed results overall. Language and sound[ edit ] Films in the Cantonese language have been made in Hong Kong since the beginning. Naked Killer also became an international cult classic. Still, some observers believe that, given the depressed state of the industry and the rapidly strengthening economic and political ties among Hong Kong, mainland China and Taiwan, the distinctive entity of Hong Kong cinema that emerged after World War II may have a limited lifespan. His first film in this vein, Project A , saw the official formation of the Jackie Chan Stunt Team and added elaborate, dangerous stunts to the fights and typical slapstick humor at one point, Chan falls from the top of a clock tower through a series of fabric canopies. Overproduction, attended by a drop in quality control and an exhaustion of overused formulas Yang, Budgets[ edit ] Films are typically low-budget when compared with American films. The most notable other auteur of these themes was Ringo Lam , who offered a less romanticized take in such films as City on Fire , Prison on Fire both , and Full Contact , all starring Chow Yun-Fat. The Cantonese comeback[ edit ] Paradoxically, television would soon contribute to the revival of Cantonese in a movement towards more down-to-earth movies about modern Hong Kong life and average people. Post-boom[ edit ] The industry in crisis[ edit ] During the s, the Hong Kong film industry underwent a drastic decline from which it has not recovered. Although these films were not the first kung fu comedies, they launched a vogue that helped reinvigorate the waning kung fu genre. But the borrowings are filtered through elements from traditional Chinese drama and art , particularly a penchant for stylisation and a disregard for Western standards of realism. 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, Thus Jackie Chan created the template for the contemporary urban action-comedy of the s, combining cops, kung fu and all the bodybreaking potential of the modern city with its glass, metal and speeding vehicles. Fists of Fury, , Fist of Fury a. So far, he has returned to Chinese cinema for only two films: Years of transformation s [ edit ] Mandarin-dialect film in general and the Shaw Brothers studio in particular began the s in apparent positions of unassailable strength. The industry had one of its darkest years in Other hallmarks of this era included the gangster or " Triad " movie trend launched by director John Woo, producer and long-time actor Alan Tang and dominated by actor Chow Yun-fat ; romantic melodramas and martial arts fantasies starring Brigitte Lin ; the comedies of stars like Cherie Chung and Stephen Chow; traditional kung fu movies dominated by Jet Li ; and contemporary, stunt -driven kung fu action epitomised by the work of Jackie Chan. Unsourced material may be challenged and removed. The sequel called for explosions on a scale similar to many Hollywood movies and seriously injured leading lady Maggie Cheung — an occupational risk Chan had already grown used to. By the height of the boom in the early s, roughly half of the theatrical features produced were Category III-rated softcore erotica descended from the fengyue movies of the s. The renamed Cathay faltered, ceasing film production in Yang,
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