Through tracing the recent history of the Hong Kong film industry, Curtin elaborates that the downfall of the industry was due to Hong Kong’s deliberate attempt to kowtow to the Chinese market; this process, however, was not a direct political force from China. Rather, Hong Kong film producers had developed anxiety about being back under Chinese control and the result was Hong Kong film production that alienated local movie audiences. The interplay of political controls and profit factors have caused the Hong Kong film industry to undergo what Curtin terms “resinicization.” Curtin demonstrates that the resinicizanon of the Hong Kong film industry is furthering the disintegration of Hong Kong as a media capital. In light of these realizations, the future of Hong Kong cinema can be summed up easily. Through resinicization, the Hong Kong industry may fare well in local and regional markets. Nevertheless, though the industry is modernized, it will ultimately remain globally disconnected and be unable to again attain media capital status if it is to stay under the control of mainland rhetoric. Nowadays, the Hong Kong film industry is no longer a flourishing hub of creativity. but an industry that has acclimatized to Chinese policies and censors. In this case, China is seen as a powder keg that discontinues the global hierarchy of cultural flows and the cultural connection in Asia.