The Rise and Fall of Asian Cinema

There is good reason to think that the long-awaited resurgence of Japanese cinema is finally upon us:

There's a new cherry-blossom spring in Japanese cinema, and it's not one that radically breaks from the successful formulas of old, nor pits Japanese film against its competitors, but one that builds on the glories of the past and revels in the achievements of other cinemas, like those of rivals China and Korea.

The story goes on to highlight some of the most exciting new releases, particularly those by Hayao Miyazaki and Takeshi Kitano (whose films have as much in common as Pixar and Kill Bill).

News is not so good across the sea, as suggested in this article discussing growing concern about the Hong Kong film industry:

Twenty film professionals have set up an emergency task force to find solutions to save the ailing Hong Kong film industry, which has seen production numbers fall to an all-time low of about 50 this year. The task force comprises such key executives and creatives as "Infernal Affairs" producer Nansun Shi, "Hero" producer Bill Kong, Media Asia's John Chong, Applause Pictures' Peter Chan, director-producer Gordon Chan, Mandarin Films' Raymond Wong and Golden Harvest managing director Phoon Chiong-kit. One of the suggestions to come out of the group is the setting up of a special cultural region in Guangdong that could take advantage of the more common cultural links shared by Hong Kong and southern China. "Guangdong is ideologically closer to Hong Kong. It is a good starting point," task force convener Shi said Monday in a story in the South China Morning Post.

It is clear to everyone that the golden age of Hong Kong cinema has passed. Whether this means it will disappear completely, absorbed into the growing mainland Chinese film industry, or will someday see a resurgence, is unknown.