It can be said that the huge bend and the Southeast Asian market have supported the prosperity of Hong Kong films, bringing him a hundred flowers of capital, talents and themes.

For example, Chen Kexin is from Thailand, Xu Ke is from Vietnam, Yang Ziqiao is from Malaysia, Lin Meinu and Xiaoqian are from Taiwan, and Oshima Yugali is from Japan.

There is also a large amount of capital, such as Taiwanese capital, to invest in Hong Kong films.

It can be said that without the consumption of films in overseas markets, there would be no golden age of Hong Kong films.

However, success is also Xiao He, and defeat is also Xiao He.

In the Southeast Asian film market, Hong Kong films used to occupy a large share, even standing shoulder to shoulder with American films.

But they are still indulging in this prosperity, not knowing that in the same era, American cinema has undergone a seismic self-transformation and has been reborn.

In 1997, the American blockbuster "Titanic" set off a huge wave, setting a global box office record of 1.8 billion US dollars, while the box office of Cheng Long's "A Good Man", the champion of Chinese films in the Hong Kong market, began to fall below the previous year, only 45 million yuan.

This failure is not accidental, since then, Hong Kong's local film box office has begun to decline, but the scale of Hong Kong's film market has not actually shrunk, but the market share of local films has begun to decline.

This year happened to be the year of Hong Kong's return to the motherland, so many irresponsible Hong Kong people took the mainland as a scapegoat.

After 1997, Hong Kong films began to lose in overseas markets, and the domestic market was lost, and the box office champion line almost hovered around 30 million yuan in 1999.

Hong Kong movies are still those Hong Kong movies, grassroots comedies, kung fu martial arts films, hot-blooded hero films, the stars are still the third, and the new generation of Zheng Yijian, Liu Tianwang, and Liang Yingdi always seem to owe a little bit of fire.

Is it because the acting skills of the new generation of stars are not as good as their predecessors? Is it the regression of Hong Kong film production technology? Did the Radio and Television X Bureau start to meddle in the production of local films in Hong Kong?

None of them are, but the old three are no longer popular with the market.

After all, after watching it for decades, the audience has long been tired of watching these movie tricks and began to pursue American special effects blockbusters, what happened to American movies in this era? Let's take a look at the history of American cinema.

In the early silent film era in Hollywood, comedy was the first to be successful, and through the exaggeration and heterogeneity of the performance, it created a visual enjoyment completely different from the experience of daily life. The audience liked it very much, so comedies were born in large numbers, and Chaplin became the king of comedy in this era.

In the era of animated films, cartoons soon dominated the silver screen, Snow White, Pinocchio, Bambi, Cinderella, Peter Pan, Miss and Rogues, almost every cartoon produced by Disney has become a classic.

In the past 18 years, although Disney's animated films are not every year, as soon as they come out, they are basically the box office champions, and their popularity in the market far exceeds that of other genre films.

The birth of animation can be said to be a milestone revolution in the history of modern film: fantasy movies can better meet the taste of the audience than real social films, and fantasy films win the world.

Then there is the era of epic blockbusters, the Ten Commandments, Ben-Hur, Cleopatra, the three major Greco-Roman epics, are the main memories of this era.

Epic films, in essence, are also a fantasy film theme, but the high cost of production costs and unpredictable market risks make epic films unable to go on soon.

Hollywood has entered the era of song and dance films, because of the decline of big-budget blockbusters, romance films, comedy films, song and dance films, westerns, gangster films, horror films, and disaster films have come out one after another, exploring innovative genre film models.

The Sound of Music, The Graduate, The Godfather, The Exorcist, are the four classics of this era. Among these new commercial film genres, song and dance films have achieved relatively greater success, with 4 of the 11 box office titles won by song and dance films.

Among them, the magnum opus "The Sound of Music" has a far-reaching impact.

After the song and dance films, props and science fiction films began to rise. Through realistically crafted props and captivating sci-fi world saga, Spielberg and George Lucas each topped the box office charts with three films, bringing the film into the first golden age of science fiction.

Star Wars and Alien E.T. are eternal memories of this era.

"Star Wars", in particular, has a profound significance for the history of American cinema.

The global box office of the first Star Wars was $790 million, 3.6 times that of Rocky, the box office champion of the previous year, from $220 million.

Since then, American filmmakers who have seen the eyes of money have begun to work hard, producing a large number of science fiction films, and will never give up until the audience's money bags are emptied. But the audience just liked this bite, so they kept eating it for six years until they completely lost their appetite.

At that time, we could see aliens in the cinema every day, just like when we turned on the TV, we could see Qing court dramas such as Emperor Gege and later anti-Japanese dramas.

Of course, traditional prop technology has weaknesses after all, and when aliens can't play new tricks, traditional prop sci-fi films begin to decline.

Epic films, song and dance films, and science fiction films are nothing more than isolation from daily life through various technical means to create a different visual enjoyment. With the fatigue of traditional techniques, there was finally a short small climax of art films.

In 1984-1994, American cinema entered the era of small-budget films, and action and art films gained popularity in the market.

Tom Cruise and Tom Hanks, Stallone and Schwarzenegger became superstars.

"Rain Man" and "Forrest Gump" are precious memories of this era.

This is the era of superstars in the history of American films, the golden decade of artistic classics, and the relatively sluggish decade in the history of American film business.

Yes, you read that right, it was indeed an era when American cinema was relatively weak in its dominance in the global market.

The box office champion of all years has roughly hovered between $300 million and $600 million at the global box office, down from the record of $500 million to $800 million in the previous decade of Star Wars franchises.

While the influence of American films in the world is relatively declining, in the land of East Asia, Hong Kong films have begun to flourish and burst into adolescence.

But in 1993, "Jurassic Park" was born, which is another great work of epoch-making significance.

This is the landmark result of the IT revolution in the United States in the 1990s, which transformed traditional industries, and its global box office reached $920 million, far exceeding the previous year's box office champions, a feat that drove Hollywood movie bosses completely crazy.

There is no doubt that the period from 1993 to 1995 was another important turning point in the history of modern cinema.

In the previous commercial blockbusters, the main way to achieve visual spectacle was realistic props, but in the later commercial blockbusters, computer digital technology fully intervened, creating an incomparably gorgeous and colorful fantasy world.

1993's "Jurassic Park" was the first successful commercial blockbuster of digital special effects; 1994's "Forrest Gump" was the last real-world low-budget American movie box office champion.

After Toy Story in 1995, computer technology took full control of the film industry, and the global box office figures for the annual American movie began to jump to the $1 billion level.

Of course, in 1995-2000, the business model of special effects blockbusters was still in the exploratory period.

The 3D cartoon Toy Story, the sci-fi film "Independence Day", the disaster film "Titanic", the war film "Saving Private Ryan", and the fantasy film "Christmas Grin" took turns to reach the top.

From 2001 to 2012, the special effects blockbuster mode of magic films, fantasy films, science fiction films, and animation films began to be fixed and entered a golden age.

"Harry Potter", "Spider-Man", "Star Wars", and "Toy Story" are the four most successful series of this era.

The influence of directors and stars declined, and novels and comics became protagonists.

Box office champion statistics over the years: Fantasy films: Harry Potter (2001, 2011), The Lord of the Rings, Pirates of the Caribbean. Fantasy films: Spider-Man (2002, 2007), Batman (1989, 2008), The Avengers (protagonist Iron Man). Sci-fi: Star Wars Prequels (1977, 1980, 1983, 1999, 2005, 5 times), Avatar (2009), Cartoon: Toy Story (1995, 2010)

The most glorious golden age of Hong Kong cinema (1985-1996) was the era of the decline of traditional American special effects blockbusters.

The "Star Wars" trilogy has ended, the sci-fi world built by props has been exhausted, low-budget action movies and art films have risen, and the control of the world market has been loosened.

It was in this era that Hong Kong films developed vigorously, giving birth to hot-blooded hero films and nonsensical comedies with unique local characteristics.

Cheng Long, Zhou Runfa, Zhou Xingchi, and Hollywood's Stallone, Schwarzenegger, Tom Cruise, and Tom Hanks complemented each other in the Eastern and Western worlds during the same period. 1

After 1995, American films have undergone visual transformation of computer technology, completed industrial upgrading, technology has triumphed over creativity, and the giant wheel of Hollywood has been invincible all over the world.

not only stifled Hong Kong films, but also marginalized local action movies and small-budget films.

After 1995, the United States has never given birth to an action superstar at the level of Stallone and Schwarzenegger, only Spider-Man, Batman, Iron Man and other omnipotent supernatural heroes remain.