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This article explores strategic hybridization in Jeffrey Lau's four films, which reinterpret the classic Journey to the West, and analyses Hong Kong-mainland film co-productions from the mid-1990s to the mid-2010s. Adopting a media industries perspective, it examines how strategic hybridization navigates economic pressures and policy environments influencing production decisions, creative choices, and industrial imperatives. The study illustrates that strategic hybridization is not merely a consequence of co-production but a deliberate strategy reflecting the collaborative dynamics between Hong Kong and the mainland, contributing to an increasingly integrated and mainland-centric co-production model. By analyzing strategic decisions across industrial and production dimensions, the article underscores the impact of policy interventions, cross-cultural collaboration, and financial factors in shaping co-production models. The evolution of co-productions is further demonstrated through a detailed look at Lau's films, suggesting that strategic hybridization serves as a set of adaptive strategies fostering a symbiotic, albeit mainland-centric, relationship between the two film industries. [ABSTRACT FROM AUTHOR]

Hollywood will encounter some cultural policies when its films are imported to the Chinese film market on a revenue-sharing basis. These include a quota system, a censorship system and an uncertain release schedule. However, China has been the fastest growing film market since 2008 and the second largest film market in the world since 2012 (yet the current film industries worldwide are recovering from the impacts from the COVID-19 pandemic). Despite the restrictive cultural policies, Hollywood, attracted by the promising profitability, have incorporated more Chinese roles and more plots about China to please the Chinese film regulators and audiences in order to gain access to the lucrative Chinese film market. Furthermore, the depiction of China has become more positive and diverse in recent Hollywood blockbusters compared with the Orientalist stereotypical images in the past. The author intends to examine the reasons behind the phenomenon through analysing the positively changing images of China from early Hollywood films to the recent Hollywood blockbusters. In fact, the positively changing depiction of China illustrates China and the US negotiating the dynamic process of cross-cultural exchange in economic and political terms through compromise, competition and collaboration. [ABSTRACT FROM AUTHOR]

The author discusses the 2014 film "Transformers: Age of Extinction" directed by Michael Bay and the collaboration between the film studio Paramount Pictures Corp. and the Chinese motion picture industry to produce it. The author describes the Chinese box office revenues of previous "Transformers" films as a reason for the collaboration, and the various strategies used by the Chinese to incorporate characters, settings, and product placement.