Having come to the Chinese mainland for 11 years, Wong is impressed by the development of the mainland cultural industry. “When I first got here, the television station’s variety shows were on the rise. The second era was when the online viewing platforms were growing, from television stations to internet websites. The third era is the latest trend of videos and streaming platforms. It’s like we’ve entered a new stage.” He said.
“At a certain age, we stopped being on the same page. Before, when we watched a show from Hong Kong, the audiences from the mainland caught up quite quickly.”
The booming development of the Internet on the one hand has led to the development of video plat-forms, and on the other hand has prompted the platforms to purchase exclusive rights in order to expand their market, which has changed the way viewers in both places receive information, and the market lacks works that can be heard in both places.
Since its return to the motherland, Hong Kong has accelerated its integration into national develop-ment in various areas.
In 2003, the mainland and Hong Kong governments signed the Mainland and Hong Kong Closer Economic Partnership Arrangement, or CEPA, strengthening economic collaboration between the two regions. Supplement X to CEPA was released in 2014, allowing for even more progressive measures in terms of exchange between labor, capital, markets, and other assets.
“Before, when there was a limit on how many there were allowed to be; a few of us would just hold down those spots for ourselves. And so the younger generations never had a chance but we actually do hope that the younger generation gets its time in the spotlight.” Wong said.
The development of Hong Kong’s music is also in itself a distillation of this city’s development. Standing on the shoulders of the homeland, Hong Kong begins a new chapter of her development.
推 荐 阅 读
