The cinema of Hong Kong (Chinese: 香港電影) is one of the three major threads in the history of Chinese language cinema, alongside the cinema of China, and the cinema of Taiwan. As a former British colony, Hong Kong had a greater degree of political and economic freedom than mainland China and Taiwan, and developed into a filmmaking hub for the Chinese-speaking world.

Unlike many film industries, Hong Kong has enjoyed little to no direct government support, through either subsidies or import quotas. It is a thoroughly commercial cinema: highly corporate, concentrating on crowd-pleasing genres like comedy and action, and relying heavily on formulas, sequels and remakes.

Hong Kong film derives a number of elements from Hollywood, such as certain genre parameters, a "thrill-a-minute" philosophy and fast pacing and editing. But the borrowings are filtered through elements from traditional Chinese drama and art, particularly a penchant for stylisation and a disregard for Western standards of realism. This, combined with a fast and loose approach to the filmmaking process, contributes to the energy and surreal imagination that foreign audiences note in Hong Kong cinema.

Coordinates: 22°16′42″N 114°09′32″E / 22.27833°N 114.15889°E / 22.27833; 114.15889

Hong Kong (Chinese: 香港) is one of two special administrative regions (SARs) of the People's Republic of China (PRC), the other being Macau. A city-state situated on China's south coast and enclosed by the Pearl River Delta and South China Sea, it is known for its expansive skyline and deep natural harbour. With a land mass of 1,104 km² (426 sq mi) and a population of seven million people, Hong Kong is one of the most densely populated areas in the world. Hong Kong's population is 95 percent ethnic Chinese and 5 percent from other groups. Hong Kong's Han Chinese majority originate mainly from the cities of Guangzhou and Taishan in the neighbouring Guangdong province.

Hong Kong became a colony of the British Empire after the First Opium War (1839–42). Originally confined to Hong Kong Island, the colony's boundaries were extended in stages to the Kowloon Peninsula in 1860 and then the New Territories in 1898. It was occupied by Japan during the Pacific War, after which the British resumed control until 1997, when China resumed sovereignty. The region espoused minimum government intervention under the ethos of positive non-interventionism during the colonial era. The time period greatly influenced the current culture of Hong Kong, often described as "East meets West", and the educational system, which used to loosely follow the system in England until reforms implemented in 2009.

Amy Yip (Chinese: 葉子楣; pinyin: Yè Zǐmèi; born 10 July 1965 in Hong Kong) is an actress who was one of the leading sex symbols of Hong Kong cinema in the late 1980s and early 1990s. She has family roots in Taishan, Guangdong.^{[citation needed]}

Amy Yip is best known for her roles in Hong Kong Category III films such as Sex and Zen and Erotic Ghost Story. The movie Sex and Zen is also the highest grossing Category III movie in the history of Hong Kong box office.

Yip first came to notice by appearing in various television series' in the mid-1980s. Erotic Ghost Story in 1987 proved to be a breakthrough role and she became one of the most popular actresses in Hong Kong and many other parts of Asia in the late 1980s and early 1990s.

She retired from acting in 1992. She expressed regret that, given the nature of her films, there were not many memorable roles during her acting career. The only exceptional movie for her was the 1991 movie Queen of the Underworld which she portrayed Sister Har, a woman who climbed from the lowest depths of society to become the celebrated queen of the night life in the 1960s and 1970s of Hong Kong.

"The Man" is a slang phrase that may refer to the government or to some other authority in a position of power. In addition to this derogatory connotation, it may also serve as a term of respect and praise.

The phrase "the Man is keeping me down" is commonly used to describe oppression. The phrase "stick it to the Man" encourages resistance to authority, and essentially means "fight back" or "resist", either openly or via sabotage.

The earliest recorded use^{[citation needed]} of the term "the Man" in the American sense dates back to a letter written by a young Alexander Hamilton in September 1772, when he was 15. In a letter to his father James Hamilton, published in the Royal Dutch-American Gazette, he described the response of the Dutch governor of St. Croix to a hurricane that raked that island on August 31, 1772. "Our General has issued several very salutary and humane regulations and both in his publick and private measures, has shewn himself the Man." ^{[dubious – discuss]} In the Southern U.S. states, the phrase came to be applied to any man or any group in a position of authority, or to authority in the abstract. From about the 1950s the phrase was also an underworld code word for police, the warden of a prison or other law enforcement or penal authorities.

Inderjeet S Johar (16 February 1920 – 10 March 1984), better known as I. S. Johar, was an Indian actor, writer, producer and director.

He was born on 16 February 1920, in Tollagannj, Pakistan. He completed MA degree in Economics and Politics before completing his LLB.

The Partition of India prompted the migration of many established luminaries of the Indian cinema, such as Prithviraj Kapoor, who migrated to Bombay (now Mumbai). In 1947, during the Partition crisis, Johar was visiting Patiala with his family for a wedding, when riots broke out back home in Lahore. He could never go back, and thereafter he worked in Jalandhar for a while, and his family remained in Delhi, before he eventually moved to Bombay, where he made his acting debut with Roop K Shorey’s, Ek Thi Ladki (1949).

He acted in numerous Hindi films from the 1950s through to the early 1980s and played cameos in international films such as Harry Black (1958), North West Frontier (1959), Lawrence of Arabia (1962) and Death on the Nile (1978), besides acting in Maya (1967), a US TV series. He also appeared in Punjabi films, including Chaddian Di Doli (1966), Nanak Naam Jahaaz Hai (1969) with Prithviraj Kapoor, and Yamla Jatt with Helen.