Hong Kong director Wang Jing was interviewed by the Global Times: The new "film censorship mechanism" compresses the anti-China chaotic Hong Kong space

Source: Global Times

The Hong Kong government proposes to amend the Film Censorship Ordinance, which explicitly stipulates that inspectors must consider whether the release of films is detrimental to national security. Some foreign media have used this to hype "Hong Kong's freedom has further shrunk", and the Global Times has conducted an exclusive interview with Wang Jing, a well-known director in Hong Kong.

Wang Jing infographic Image source Visual China

Some forces have been struggling to exploit loopholes

"It should have been a long time ago." Wang Jing told the Global Times reporter on the 26th that the revision of the "Film Inspection Ordinance" will not limit the space for filmmakers to create, but only squeeze the space for anti-China and chaotic Hong Kong elements to sell "private goods", "people who are worried that 'inspection will impact Hong Kong films' generally have no drama, because they are ignorant or have ulterior motives, and no one who really makes movies with heart will say so."

As an "old cannon" who has been in the film industry for decades, Wang Jing is familiar with the Hong Kong film censorship mechanism. He told reporters that in fact, film censorship exists in any period, such as the inspection of violent and pornographic content in the British period in Hong Kong; in terms of politics, if the film is found to be "likely to damage friendly relations in neighboring areas and hinder public order", it may be banned. Before the handover, some Hong Kong films tended to be harmlessly "joking" in political content, such as "Domestic Lingling Paint", and both the director and the audience knew that this was fake. After the return, some anti-China and chaotic Hong Kong forces began to take pains to exploit loopholes, but the film inspection mechanism basically followed the previous British set, and used some inexperienced young people to check, "As a result, a lot of 'over-the-line' things were allowed, as long as the regulations were not written very clearly, some content in the gray area was easily released." This gives some anti-China and chaotic Hong Kong forces room to survive."

Inspectors must have two qualities

The proposed proposed Bill would provide a clear statutory basis for inspectors to take full account of national security considerations when making their decisions, and the Chief Secretary for Administration may direct the revocation of the certificate of approval or exemption for certain films if he believes that the release of certain films would be detrimental to national security.

Wang Jing believes that two qualities of future film inspectors are necessary, "First of all, we must love the country and Hong Kong, and at the same time, we must have film expertise." For the content in question, it should be reported to the superior in a timely manner, and the administrative secretary should take care of the last pass." He said that many Hong Kong directors and actors, especially those who often cooperate with the mainland, have a strong sense of sensitivity to politics, especially national security-related content, "but this does not mean that the scale of co-production films with the mainland will become smaller, thus affecting the creative space", "Bomb Disposal Expert 2" released last year has filmed the airport explosion, and the previous Hong Kong films seem to have not been filmed like this, "so I think that in recent years of cooperation with the mainland, the scale of Hong Kong film creation has not actually tightened, but more relaxed." Of course, if the film involves content that attacks its own country and endangers national security, this is not allowed in any country or region in the world." Wang Jing also said that he does not think that film inspection is "to cut off from politics", "in recent years, many film and television dramas in the mainland are also involved in politics, such as "The Name of the People" and "Sweeping The Black Storm", such themes should be filmed more."

In previous interviews, Wang Jing had suggested cracking down on those who used government funds or private funds to make anti-China and chaotic Hong Kong films. In this interview, he again talked about the topic: "Why can they [refer to anti-China and chaotic Hong Kong elements] apply for government funds?" What I learned is that the previous REVIEW team of the SAR government responsible for fund review was basically all 'yellow'. I rarely apply for government funds because I have been filming in the mainland and do not need it at all. But once when a young man wanted to make a movie and wanted to apply for government funding through my company, I advised him, 'They (referring to the judging team) know my position, and if they use my company, they will definitely not approve it', and the result is that it is not approved.""

In 2015, several Hong Kong directors made a self-described "one of the highest-paid" films, "Ten Years," filled with content that incites hatred and splits the country. Wang Jing told the Global Times that in order to make this so-called "independent" film, the anti-China rioters in Hong Kong have obtained funds in a disgraceful way, "it is said that they have defrauded a Christian group in Hong Kong of money." I heard that when I first asked for money, the film team submitted a script that looked ordinary, and when it was made, the Christian group found out that it was in trouble and had to hide. In fact, many people who shoot anti-China and chaotic Hong Kong films use this method to cheat money, and only say 'reflect social phenomena' when they set up the project, and the result is far from the same." When asked if there were any anti-China and chaotic Hong Kong forces to solicit or invite them to participate in its film project, Wang Jing smiled and said: "Who dares?" Looking for me is like 'looking for Huang Feihong to go to a nightclub', which is completely incompatible. ”

"Hong Kong flavor" should be viewed in stages

In recent years, some Hong Kong actors have been boycotted by mainland netizens for making statements in support of anti-China and chaotic Elements in Hong Kong. In Wang Jing's view, these people are not out of defense of their own "ideas", nor for "livelihood", but want to "please both sides", "A Hong Kong artist who was boycotted by mainland netizens told me, 'They asked me to write a letter of repentance, I thought about it for half a day, or don't write, if it is not okay to write, then is it not that both sides have not to mix?'" I told him, 'No, you still have to show your sincerity before someone can help you.'" Wang Jing said bluntly, "Originally with their strength, they could get a lot, but they wanted to please both sides", for example, some people posted on Facebook and the content on Weibo is completely different, thinking that "no one can see it" in the mainland, "I believe that if he knew the result now, he would definitely not do that at that time." For this, it can only be said that it is a fool's dream."

In the interview, Wang Jing also talked about the issue of "Hong Kong taste". He believes that "Hong Kong flavor" should be viewed in terms: the "Hong Kong flavor" of the 1960s and 1970s was the "lawlessness" under the colonial system; the 1980s and 1990s were the "apocalyptic carnival" before the return, which was abnormal, "Only after the return, it looks very plain, but everyone is actually doing business and developing in a law-abiding manner, which is the normal state." Wang Jing said that because there are fewer "abnormal" things, it cannot be said that there is a lack of a certain "taste", "the most popular movies in the mainland in recent years are not necessarily special in themes, and some films full of humanity have a very good reputation, such as "Hello, Li Huanying", "Send You a Little Red Flower", "I Am Not a Medicine God", all of which are very excellent and successful." He said: "After the reversion, I stressed that in the future, we will only have Chinese films and Chinese films, and we will not emphasize Hong Kong films anymore. ”