Comment by DiscourseFan

I think it makes sense that historically American film focused on narrative based dramas and slow burn horror. Think of classic Hollywood hits such as Citizen Kane and Psycho. This is even apparent in the recent success of Obsession, which really follows strongly in the trend of Hitchcock, magical realism, human drama, psychological horror.

Compare this with historically successful Honk Kong films: Kung Fu Hustle, Police Story, Ip Man. I mean there are examples of Hong Kong films that are slow burn human dramas, like Chungking Express and Eat Drink Man Woman, and successful American action films like Diehard, but I think its clear that Hollywood film didn't start out with action movies, and Hong Kong film didn't start out with slow burn dramas, but adopted these genres afterwards; you could even claim that successful Hong Kong films like the Bruce Lee films of the 70s fueled the American appetite for action in the 80s, which was the most prominent era for that genre in the US.

As a corollary to this, it becomes clear that the Korean and Japanese film making industries are not as culturally distinct from Hollywood as Honk Kong film making is. For Korean film, the reason is obvious: Koreatown in Los Angeles is right next to Hollywood, in some respects is a part of Hollywood, and there are deep ties now between the Korean and American film making industries for that reason, and Korean-Americans have an overly high degree of representation in American media, and Korean productions often come to America to shoot (think of the end of Squid Games: it's almost certainly the case that they shot in LA because a producer has a cousin or something that works in Hollywood).