Hong Kong youth in the 1950s and 1960s were heavily influenced by western culture. Among them a group of cinephiles followed the footsteps of the French New Wave pioneers, took on the role of film critics and then went on to become experimental filmmakers. The core members of The Chinese Student Weekly, including Law Kar, Lin Nien Tung, Sek Kei and Kam Ping Hing, founded College Cine Club in 1967. They made their own short films and also held screenings to showcase their works. They did not just entertain themselves but really meant business.

Hence, it broke the ground for Hong Kong experimental films. These youngsters, like Ho Fan, Law Kar, John Woo, Sek Kei, Charles Ng Sing Foon, weren’t satisfied with what happened in the film industry: big studios monopolyised the market and blocked off small productions; films were only formulated around action and sex and lack of any social consciousness. Besides a handful of 8mm films, most of their works were black and white 16mm films, such as Dead Knot (1969, co-directed by John Woo and Sek Kei). By showing their capabilities, they hoped to raise the bar for Hong Kong cinema.

Their love of black and white 16mm films was due to various reasons. First, 16mm was closer to 35mm used in professional filmmaking which gave them a better chance to transition to mainstream cinema and make a difference inside the system. Second, black and white film was an important medium in European art scene at the time. Finally, 16mm film stock costed less and served a practical purpose for the young striving artists.

From 1967 to 1971 was the budding years for Hong Kong experimental films as well as the formative period for these young artists. Many of them went on to join the film industry and became household names. This wave of movement ended in 1971 when College Cine Club dissolved; at the end of the same year, Film Guard Association was founded and brought Hong Kong into the colour 8mm experimental film era.