For the past hundred years, Hong Kong had been a place where Chinese and western cultures merge. A unique cultural character was established, especially in the area of popular culture, such as novels, music, television and film, expressing a spirit of diversity, freshness, readiness to explore and a freedom from taboo. It is this unique cultural character and our exceptional historical opportunities that allowed Hong Kong to become an Asian film empire in the 1980s and 1990s.
Hong Kong entered the one-country-two-systems historical era after 1997. In the face of the tidal wave of Hong Kong-China integration, Hong Kong cinema seemed disoriented, losing luster. In the years since the Reunification, both Hong Kong and China had been going through rapid changes, yet the majority of Hong Kong films or co-productions were unable to capture these changes.
Changes are at once challenges and opportunities. If we do it right, Hong Kong film directors can certainly bring shining glory to Hong Kong film and Chinese film.
King Hoi-lam was born in Hong Kong in the late 1950s. He entered RTHK in the 1980s, working as broadcaster and writer, transferring to the television section in 1978, to serve as assistant director, mostly on the series Below the Lion Rock. He started directing in 1980, working on Below the Lion Rock and other programs.
King entered film in 1980, first as director for the Shaw Brothers production Pure and Evil (1982), later making Home In Hong Kong (1983) for Golden Fountain. He then went to New York to study film production, returning to Hong Kong in 1988 and directed A Story of HK Swingers (1988). In 1990, he stopped making films to engage in business, shuttling between Hong Kong, China and North America. In 2012, he returned to the film industry.
|Year||Chinese name||English name||Directors|
||A Story of HK Swingers|
||Home In Hong Kong|
||Pure and Evil|