In this task, you are given news articles and you need to generate a highlight, i.e., a short summary, with a maximum length of 10 lines.

Example Input: HONG KONG, China (CNN) -- In the decade since the 1997 handover of Hong Kong to China, local movie-makers have faced daunting changes in the industry. A trend of fewer films being produced each year in Hong Kong at the time of the handover has continued into the 21st century. Stephen Chow's "Shaolin Soccer" is one of Hong Kong's all-time top-grossing films. People in Hong Kong's industry point to several causes for the comparatively leaner times: a lack of opportunities for new acting talent, inadequate training and schooling for people who produce movies and changing tastes within the Hong Kong public. At the same time, local film-makers have had to refocus their cameras for a new audience: mainland China. "The Hong Kong film industry came to a rude awakening [in the late 1990s] that the world was changing faster than it was in the age of new delivery systems for home entertainment and the Internet," says Bede Cheng, a local film archivist and curator. "Unfortunately, it seemed to be blinded by the 'golden age' of the '80s, where any film could easily rack in over $1.3 million." The box office numbers are sobering. In the early 1990s, Hong Kong released around 200 local features a year. By 1997, that number dropped to 85 films grossing $69 million, according to the Hong Kong, Kowloon and New Territories Motion Picture Industry Association (MPIA). By 2006, those figures slumped to 51 films grossing $37 million. Ten years ago, the top 10 grossing films accounted for 47 percent of the total box-office return; today, the portion is 58 percent. "1997, unfortunately, coincides with the beginning of the collapse of the local film industry -- a well-documented fact," says screenwriter Jimmy Ngai. "On the other hand, it also commenced the opening up of the mainland market. "The result is that the industry has grown more and more accustomed to looking north for both investment and box return -- nothing political, but more of a survival instinct. What needs not to be spelt out for film-makers venturing north is that one plays according to what goes with the territory." The new Chinese market has translated into an emphasis in contrasts of Hong Kong-made films, says film archivist Cheng. "Today production is down, with many majors like Chinastar and Golden Harvest scaling back," he says. "Most films are high-end productions with big stars, or low-end made with a shoestring budget for an easier return. "The number of screens is also down, with the consolidation of more multiplexes, usually owned or partly owned by distributors, which already have a steady supply of foreign films to fill the screens. Some once video distributors like Mei Ah and Universe have gone into production as a way to keep the pipeline flowing." In 2006, Hong Kong closed five small cinemas and re-opened one multiplex. Gary Mak, director of Broadway Cinematheque -- Hong Kong's last-remaining alternative-screening venue -- remains optimistic about more adventurous programming and distribution. But Mak points to a shortage of creativity in the local industry. "No talents, no formal training, in most areas such as script-writing, directing, acting, etc," he says. "Even the independent scene still needs more real talents -- or at least, real producers to pull together a really good project." Tim Youngs, Hong Kong consultant for Italy's Far East Film Festival, says changing tastes among Hong Kong movie-goers has also affected the industry. "Audiences have become increasingly dismissive of local movies, often referring to them as poor quality, and there are much fewer paying cinemagoers these days. "So the hometown audience shows less support for local movies, whether by not seeing local films or opting for piracy, while the declining number of films means less opportunities for film-makers, fewer chances to try out new things, and damage to confidence." Elizabeth Kerr, film critic and curator formerly based in Seoul, South Korea, agrees with Youngs' assessment. "For all the risk-taking businessmen out there [in Hong Kong], no one is willing to put their money where their mouth is and throw in some support. "The industry for the most part suffers from the cleave between that fluff -- which makes money -- and the more adult film-making of the smaller studios, distributors and indies." How is South Korea's film industry different from its Hong Kong counterpart? "The drive to attain world adoration," Kerr says. "Koreans truly believe they're making great art all the time. South Korea launched an active campaign on all levels -- corporate, government, education -- to train and cultivate a modern film industry." Still, Kerr sees reason for optimism. Films that best retain a Hong Kong style, Kerr maintains, likely carry "Category III" (under 18 not allowed) ratings: Movies that are "grown up and smart," she says. "Even if the films don't work, someone tried." In the end, it may be culture that poses one of the greatest challenges for Hong Kong's movie industry. "Around 1997, like lots of Hong Kong people, I kind of lost myself," says independent film-maker Chan Wing-chiu. "The film industry was already almost dead in the '90s. Why work for a sunset industry?" Chan's own first feature in 2005, "A Side, B Side, Sea Side," includes a scene with a gaggle of girls on Hong Kong's Cheung Chau island who are unable to communicate in Chinese with an Australian man speaking fluent Mandarin. The two parties end up conversing in English. "That's me," says Chan, referring to the girls. "I speak English better than Putonghua [China's official common language, also known as Mandarin]. Many Chinese say that now that Hong Kong is part of China, Hong Kong people must learn Putonghua. I disagree. In Hong Kong we all speak Cantonese. Hong Kong already has a bad reputation for Putonghua, but I don't feel ashamed. I'm proud to have grown up during the transition between 1997 and SAR. "Why do we have so many problems with China? Because our language, our culture, our values, our way of thinking are different. So we are not good at speaking Putonghua. Even in the cinema, we see Western movies, Japanese movies, Korean movies... but not many Chinese movies." Adds independent director Yan-yan Mak: "We are monsters. China says: 'You are not Chinese.' Gweilos [Hong Kong slang for Caucasians] say: 'You are Chinese.' After 1997, we lost the confidence to be Hong Kong people." E-mail to a friend .
Example Output: Hong Kong film production has dropped almost 75 percent since early 1990s .
Mainland investment and market influences quality of Hong Kong films .
Problems include few opportunities for new talents and little audience support .

Example Input: (CNN) -- No play can begin in a baseball game until the pitcher throws the ball. And no play can conclude until the umpire makes the call. "We're not just robots they send out there," umpire Tim McClelland (2nd from L) told author Bruce Weber. Yet these figures -- the man on the mound and the men who stand in judgment -- are vastly different in importance to the average fan. There are countless children who dream of becoming a major-league pitcher. He is, literally, the king of the hill. Umpires? Almost nobody dreams of becoming an umpire. And yet the positions share a number of similarities, according to two new books: "As They See 'Em" (Scribner), by New York Times writer Bruce Weber, and "The Complete Game" (Knopf), by former major-league pitcher (and current New York Mets broadcaster) Ron Darling. Both jobs require a great deal of command, neither gets enough training, and both are often disrespected by others in the game. Indeed, despite a library of books by and about pitchers (Jim Bouton's "Ball Four," Jim Brosnan's "The Long Season," Christy Mathewson's "Pitching in a Pinch"), Darling said he believes that people still don't understand what it takes to stand on that mound. "Within baseball circles there is a common baseball axiom, 'If pitchers weren't so stupid, hitters would never get a hit,' " he said in an e-mail. "Of course, I knew this was a fallacy so I decided to write about the travails of major league pitchers. Throwing a ball 95 mph to tin cup-sized quadrants sounds pretty difficult to me, and I wanted to express this to the reader." Umpires, on the other hand, rarely get written about at all -- in fact, they're often treated as less than human. ("The owners basically see them like bases," former baseball Commissioner Fay Vincent told Weber. "They say, 'We need a base; we need an umpire; same thing.' ") Weber found a fraternity (and they are almost all men) much like cops or soldiers: tight-lipped believers in baseball law and order. Weber immersed himself in the "land of umpires," as the book's subtitle calls it, attending umpiring school, calling games at various levels of pro ball and talking with those who were willing -- including the legendary Doug Harvey, who was called "God" for his imperious demeanor. What he found is that what looks so obvious on television at home is often a challenge on the field, a matter not just of eyesight but positioning, rule-book knowledge and basic guts. "That's really what [being an umpire] is about -- is being in charge," he said. "If there's anything that characterizes the major league umpire, it's that special kind of chutzpah." Umpires need that presence because they're often baseball's most disrespected men. Aside from the vitriol they face -- the managers kicking dirt, the spectators yelling "Kill the ump" -- they're second-guessed by broadcasters and barely tolerated by management, as Weber reveals in detailing the episodes preceding and following the 1999 umpires' strike. And yet Major League Baseball doesn't participate in umpire training or development, entrusting it to two umpire-run private schools, Weber observes. (MLB does run an annual umpire camp.) Darling echoes Weber's concerns in his own field, pitching. In these days of strict pitch counts and injury concern, pitchers are "undertrain[ed]," he says, noting that top draft choices climb the ranks "never allowed to throw more than 110 pitches." That leaves them at a disadvantage when they have to go deeper into a game or cope with a tough inning, he says. "It would be like training for the marathon and never running more than 5 miles," he says. "Identifying and preserving million-dollar arms are [the purview] of doctors, not baseball people." Darling's book is a chronicle of pitchers' thought processes, using individual innings from his pitching or broadcasting career to make his point. He talks about panic overtaking a pitcher, as it did for Darling in a 1984 game in which he got pasted by the Cubs; he also addresses the rush of pitching in a World Series game and -- in a treat for baseball fans -- goes over the extra innings in perhaps the most famous college baseball game ever, a 1981 extra-inning contest that Darling's Yale Bulldogs lost to Frank Viola's St. John's Redmen, 1-0. He says he remembered the games vividly. "I definitely watched tapes and read box scores, but I was very clear on almost all the minutiae of the good old days. A little scary and maybe a major personality flaw!" Pitchers get more support than umpires, of course. Darling observes that the relationship between a pitcher and his catcher during a well-pitched game "is one of sport's most beautiful dances. I would not have said it when I was playing, but after a shutout ... there is a love for that person immediately after the process. You did something together that could not have been done alone, and nobody can understand what you went through to get there." Umpires, too, take pride in their best moments, though few pay attention outside their fellow umpires. More common is to be vilified for missed calls. Weber devotes a moving passage in his book to a conversation with the retired Don Denkinger, a 29-year veteran remembered by fans (if he's remembered at all) for a wrong call in the 1985 World Series. Though time has dulled the pain, "I think he lives with [that call] every day," Weber said. "When a dreadful thing happens to you in front of so many people and you become famous for it, it must be devastating." Weber says his time with umpires has made him much more sympathetic to their judgmental tasks. When watching games now, the Yankees fan says, he'll focus on the umpires. "I just think umpiring is interesting. People hate 'em, and they somehow perceive of umpiring as a flaw in the game, but I don't," he said. "Now I'm always interested who the umpires are." Which is a point the umpires would appreciate. "Umpires are people, too," veteran ump Tim McClelland told Weber. "We have families; we have emotions. ... Somebody says, 'Kill the umpire,' and people go, 'Heh, heh, that's funny,' but in order to do that, you have to disassociate the umpire from the person. "We're human. We're not just robots they send out there."
Example Output: "As They See 'Em" is in-depth look at baseball umpires .
"The Complete Game," by Mets broadcaster Ron Darling, gets inside pitcher's head .
Two positions have similarities: necessary command, some disrespect .

Example Input: (CNN) -- An estimated 13,000 Congolese civilians threatened by fierce fighting and gruesome attacks have fled to neighboring Uganda over the past two days and more are expected, the United Nations' refugee agency said in a news release Thursday. Congolese Anosiate Nyirahabineza holds her son Jeremiah in Kampala, Uganda, in June. The agency said the people fled from villages in the besieged province of North Kivu, in the eastern Democratic Republic of Congo, where fighting between rebels and government troops has prompted the displacement of 250,000 people since August. The staff of the U.N. High Commissioner for Refugees in the southwestern Uganda town of Ishasha said the people crossed into Uganda from Congo's Rutshuru district. Since August, about 27,000 civilians have escaped to Uganda, which now hosts more than 150,000 refugees from countries in the region. The U.N. agency said the latest refugees are reporting many attacks and atrocities. It quoted a 25-year-old named Daudi, who said, "The assailants killed everybody in my village. They took the young boys with them and killed all the rest of the population. It's a miracle that my wife and I managed to escape." He said one of his two children was separated from the family and it is not known where he is. Another villager said rebels who attacked his village "killed all the women, even pregnant women," the U.N. agency said.
Example Output:
13,000 Congolese have fled into Uganda in past two days, U.N. says .
Refugees report massacres, atrocities in their villages by rebels .
Neighboring Uganda now hosts some 150,000 refugees from countries in the region .

