Bas se Kar Wai Wong olenjio. Youtube je prepun njihovih filmova.

The industry in crisis

During the 1990s, the Hong Kong film industry underwent a drastic decline from which it has not recovered. Domestic ticket sales had already started to drop in the late 1980s, but the regional audience kept the industry booming into the early years of the next decade (Teo, 1997). But by the mid-1990s, it went into freefall. Revenues were cut in half. By the decade's end, the number of films produced in a typical year dropped from an early 1990s high of well over 200 to somewhere around 100 (it should be noted, however, that a large part of this reduction was in the „Category III” softcore pornography area [Bordwell, 2000].) American blockbuster imports began to regularly top the box office for the first time in decades. Ironically, this was the same period during which Hong Kong cinema emerged into something like mainstream visibility in the U.S. and began exporting popular figures to Hollywood.

Numerous, converging factors have been blamed for the downturn:

- The Asian financial crisis, which dried up traditional sources of film finance as well as regional audiences' leisure spending money.
- Overproduction, attended by a drop in quality control and an exhaustion of overused formulas (Yang, 2003).
- A costly early 1990s boom in building of modern multiplexes and an attendant rise in ticket prices (Teo, 1997).
- An increasingly cosmopolitan, upwardly mobile Hong Kong middle class that often looks down upon local films as cheap and tawdry.
- Rampant video piracy throughout East Asia.
- A newly aggressive push by Hollywood studios into the Asian market.
- The greater access to the Mainland that came with the July 1997 handover to China was not as much of a boon as hoped, and presented its own problems, particularly with regard to censorship.

The industry had one of its darkest years in 2003. In addition to the continuing slump, a SARS virus outbreak kept many theaters virtually empty for a time and shut down film production for four months; only fifty-four movies were made (Li, 2004). The unrelated deaths of two of Hong Kong's famous singer/actors, Leslie Cheung, 46, and Anita Mui, 40, rounded out the bad news.

Pogledaj šta se gleda na azijskom festivalu u Hong Kongu pusti Vudove bajate Wiki

http://www.asianfilmawards.asia/

Ovo je tipičan Čmarkizov biser. Ljudi lepo OBRAZLOŽE zašto je i kako došlo do posustajanja filmske industrije u HK, ali ne, Čmarkiz ima svoje mišljenje, čak i neki link koji neću da otvaram jer ko zna kakvih je tu virusa.

Gazi samo brale, nemoj da se osvrćeš na plač i jecaje pregaženih. Jednom se živi.

Pa, Kina ide uzlazno, dok joj se ne „desi narod” tj. neki novi Tjenanmen. A to je samo pitanje vremena. Sa ekonomskim progresom raste i osvescenost naroda a samim tim i otpor prema jednopartijskoj diktaturi. I još kad Zapad malo pogura stvar, kao u Ukrajini..

Malo je to osim ako se neko dete bas ne za...e pa te pazi.

Ja sam moje obezbedio, dobice po stan i skolovanje od mene i dok mogu pomagacu im kao sto su moji mene. Penzija kolika god da bude biće za putovanja. Ovo je Srbija:)

Polako, to sve zavisi od stava kakav imaš prema deci. Roditelji tipa „ja te izdržavam dok ne napunis 18 a onda mrs napolje” ne mogu ocekivati mnogo od svoje dece kad ostare (i ne ocekuju, verujem). Dotle, imate porodice koje se drže zajedno. Svi u istoj kuci, ili u istom kvartu.. ne, ne pricam o Grcima :) sa filma, nego o nekim stvarnim porodicama koje znam. A neke stvari smo diskutovali i na Politici.. imate npr. pop kulturu koja zagovara osamostaljivanje dece po svaku cenu i sto ranije, posebno ako im roditelji ne daju da budu „ono sto deca hoće da budu” (pederi, narkomani i sl.) dok, MeđuTIM, oni koji zagovaraju takav liberalizam drže sopstvene porodice i te kako povezane. Sio mi ga Djura. Liberalizam drugima, a oni samo patrijarhalno..