Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 416, Section 414: Dimensional Reduction and Industrial Deconstruction
Wang Sheng's counterattack was precise and deadly.

When Cheung Hung was invited for a "coffee" by the Independent Commission Against Corruption (ICAC), his company's chaotic accounts, suspected fraud, and long-term exploitation of low-level film crews were exposed by several media outlets that were originally at odds with him. His righteous face of "defending industry traditions" shattered instantly, and he was replaced by the image of a rat that everyone wanted to kill.

Almost simultaneously, Chan Kwun-chung's seemingly glamorous "Cultural Defense Alliance" was also exposed for accepting funding from unknown overseas sources, with significant doubts about its accounts. Chan himself flew to Canada overnight for a "vacation" and dared not return to Hong Kong easily.

Several solid blows landed, swift and ruthless.

Several media outlets and film critics who had previously been clamoring for a "boycott of Wang Sheng" and "defending the dignity of Hong Kong films" suddenly lowered their voices by eight octaves.

They then realized with a start that this young "King of the Chinese Entertainment Industry" not only held capital and distribution channels, but also possessed information gathering capabilities and ruthless methods that were beyond their comprehension.

So-called propaganda offensives are as fragile as paper walls in the face of real strength.

The wind direction has begun to subtly shift.

Wang Sheng did not linger on Hong Kong Island, as if he had merely swatted a few buzzing flies.

He handed over the subsequent public opinion battle entirely to a professional public relations and strategic analysis team led by a professional manager.

This team is no longer a traditional crisis public relations model, but a modern "information warfare" group that integrates media relations, data analysis, industry research and strategic communication.

Their task is not simply to defend or hurl insults, but to systematically deconstruct the predicament faced by Hong Kong cinema from a broader perspective, with more detailed data and more professional analysis, and to elevate Wang Sheng's misinterpreted "bombardment" into a major discussion about the future of Chinese-language films.

A lengthy analytical report titled "Openness, Not Destruction: Self-Examination and Exploration of Solutions to the Decline of Hong Kong Cinemas" has begun to be published in batches and in a rhythmic manner through several Hong Kong media outlets and professional film publications that have good relations with the mainland and maintain a relatively objective stance, in the form of columns and special reports.

The report avoids emotional accusations and condescending lectures, instead employing a calm and objective approach, combined with real industry data from around 2002, to analyze the underlying reasons for the gradual decline of Hong Kong cinema from multiple perspectives:

I. The shrinking market base and the fatal impact of piracy.

The report clearly points out that Hong Kong Island's local market is small, with a population of just over six million. Relying solely on local box office revenue is simply not enough to support the ever-increasing film production costs.

Meanwhile, once important overseas markets, such as Taiwan and Southeast Asia, have significantly reduced their reliance on Hong Kong films due to the rise of local films and changes in cultural policies.

Even more deadly is that the rampant piracy of VCDs/DVDs has created a mature underground industry chain.

The report cited data from the International Federation of the Phonographic Industry (IFPI) and other sources, pointing out that piracy has led to a sharp decline in revenue from legitimate audio-visual products, severely eroding the channels for recovering film investments and creating a vicious cycle of "losing money on every film made."

"When investments fail to yield reasonable returns, capital will naturally withdraw, and a decline in innovation and production standards is almost inevitable."

Second, the awkward situation of a talent gap and a lack of successors.

The report reviewed the superstars and directors of Hong Kong films during the golden age of Hong Kong cinema from the late 1980s to the early 1990s, pointing out that as top talents such as Jackie Chan, Chow Yun-fat, Jet Li, and John Woo went to Hollywood, a huge talent vacuum emerged in Hong Kong cinema.

Despite the presence of exceptional talents like Stephen Chow, the industry as a whole, both on and off screen, faces the predicament of "veterans sticking to their old ways and new talents struggling to emerge."

The report pointed out sharply: "Over-reliance on a few established stars and directors, and the lack of a systematic mechanism for cultivating new talent and the ability to generate new talent, has led to the solidification of Hong Kong film genres, difficulty in breaking through stylistic barriers, and inevitable aesthetic fatigue among audiences."

III. Path dependence and lack of innovation in genre films.

The report acknowledges the remarkable achievements of Hong Kong genre films (police, gangster, slapstick comedy, martial arts, etc.), but also points out that overly successful formulas have become a constraint on innovation.

The market is flooded with copycat works, many of which are poorly made, leading to the over-consumption of genre elements and a gradual loss of novelty.

At the same time, there has been insufficient exploration of emerging film genres (such as mature science fiction, fantasy, and high-concept dramas), and the industrial system and technological reserves (especially film special effects) have failed to keep pace with international standards, making it difficult to meet the increasingly sophisticated audiovisual demands and aesthetic tastes of the new generation of audiences. IV. Outdated production models and a lack of an industrial system.

The report compares Hollywood's mature "producer-centric system" with Hong Kong's traditional "director/star-centric system".

The latter relies more on individual talent and intuition, lacking rigorous early-stage development, scientific budget control, standardized project management, and a systematic post-production process.

This "workshop-style" production model may be flexible when dealing with low-cost, short-cycle projects, but it often falls short when faced with large-scale productions that require extensive resource coordination and meticulous division of labor, easily leading to uncontrolled costs and unstable quality.

The report emphasizes: "Film is not only an art, but also a highly industrialized business."

Without the support of a modern film industry system, it is difficult to create works with lasting vitality and international competitiveness.

Fifth, a closed-minded attitude and a misjudgment of the rise of the mainland market.

The report concludes, and most thought-provokingly, by pointing out the mindset of some Hong Kong filmmakers.

When faced with difficulties, they are prone to nostalgia and self-isolation, viewing the rise of the mainland market as a threat rather than an opportunity, and lacking in-depth understanding of the changes in the aesthetics and consumption habits of mainland audiences.

The report calls for an unprecedented historical opportunity for Hong Kong films, which are backed by the mainland market with 1.3 billion potential viewers and are experiencing explosive growth.

The only viable path to revitalization is to humble ourselves, adopt an open, cooperative, and learning mindset, actively integrate with the mainland, leverage the traditional strengths of Hong Kong films in genre storytelling, entertainment spirit, and international perspective, and deeply integrate with mainland capital, talent, and markets.

Mr. Wang Sheng's previous remarks were essentially about "promoting exchange and seeking development," rather than a simple denial.

This report, like a bomb dropped into deep water, though lacking in strong language, has triggered a far more profound shock and reflection within the Hong Kong film industry than the previous verbal battles, thanks to its solid data, rigorous logic, and broad perspective.

Many people who previously blindly followed the trend of boycotting have begun to calm down and read and think.

Public opinion has been completely reversed.

"Openness, not destruction" has become the key phrase in this new round of discussions.

Meanwhile, Wang Sheng had already boarded a flight and returned to Beijing.

For him, the hustle and bustle and disputes of Hong Kong Island were just an interlude.

His real battlefield was in the "Jackie Chan Happy Garden" in Huairou, and in the massive and meticulous post-production of "Night at the Museum".

Expert teams from top international visual effects companies such as Digital Field worked alongside Shengying's own trained technical staff, rendering those fantastical scenes day and night.

Wang Sheng plunged into the editing room and special effects preview room, working with the director team and visual effects supervisor to polish every shot again and again, ensuring a perfect blend of visual spectacle, comedic rhythm, and emotional core.

For him, achieving success in the global market with a film that truly represents the highest level of the Chinese film industry is far more meaningful than arguing over trivial matters in the small arena of Hong Kong.

That would be the most powerful rebuttal to all doubts and slander.

However, this scathing attack on Hong Kong Island also had a hidden agenda, serving as a subtle warning to the mainland entertainment industry.

(End of this chapter)