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1.
Abstract

Hong Kong's film industry has been living through and beyond the 1997 handover to China. Along a complicated socio-economic and cultural heritage, the city's “crisis cinema” successfully milked takeover fears for an anarchic display of showmanship. Local filmmaking conditions, popular narratives and aesthetics from that time can be identified as ingredients in a “chaotic formula” that instigated Hong Kong cinema's “Golden Age.” Unlike other film industries, which point to their disaster centres in a search or celebration of national identity, Hong Kong survived at a fragile historic juncture largely by sailing around the cliffs of political affront and resorting to metaphorical speech instead. Yet, following the handover, the film industry has retired its previous attitudes about itself and the future; it has integrated a new “China factor” and riddled cinema with contradictory statements about the “condition” of Hong Kong. System failure, madness and identity theft in crime stories appear alongside celebratory historicism, cultural allegiance and escapist spectacle, especially in Hong Kong-China co-productions. This paper follows the evolution of the crime genre along general dynamics and transformations of the formula from the 1980s, past the turbulent 1990s and into recent postcolonial Hong Kong, in which the inability to formulate a new crisis, or the resolution of the previous one, has put cinema itself into crisis.  相似文献   

2.
This essay looks at the mobility of pregnant Mainland women in Hong Kong to expose the reverberations of the SAR government's immigration policies relating to cross-border birth tourism. Pregnant Mainland women and their children (fetuses), as emergent social subjects, embody conflict and the negotiation between population governance and economic benefits. The government denies pregnant Mainland women the right to give birth in Hong Kong based on their non-eligible status while admitting their children to be born in Hong Kong on the grounds that their children meet Hong Kong's future demand for population renewal, in this way boosting the development of childbirth tourism. However, the localism, which has had an extensive influence on Hong Kong local society in recent years, has rejected the SAR government's “population renewal” imaginary by suggesting its own “locust imaginary.” The government's acceptance and the local's exclusion of the population flow between China and Hong Kong imply distinct cross-border subject imaginations. Only by contextualizing and critically analyzing the various othering identities such as the non-eligible or locusts can we better understand the cultural politics of Hong Kong birthright citizenship over recent years.  相似文献   

3.
Abstract

After the Regulations on the Administration of Movies came into force in 2002, Johnnie To became famous for sticking with the Hong Kong market while Hong Kong filmmakers rushed north. In Drug War, his 50th film, he decided to bring his unique genre to the Mainland for the first time. Drug War was the first Johnnie To gangster film to be shot entirely in the Mainland. Despite its outstanding box office record in the Mainland, some Johnnie To fans would lament that his typical style is missing in Drug War, a film that has become “realistic.” This paper argues that Johnnie To's “northern expedition.” backed up by a tradition of translations between business and pleasure, has to be interpreted against the backdrop of his production company Milkyway Image (HK) Ltd. Johnnie To, as a migrant crossing the border, brought with him the long tradition of cultural translations from Milkyway Image, which acted as a “seed of the untranslatable” in Homi Bhabha's term. It was this untranslatability of Milkyway-cum-Hong Kong flavour that distinguished To from other Hong Kong directors who were assimilated into the Mainland market as a simple mélange. To capture the rich inter-textual allusions to not only Milkyway Image but also to Hong Kong in Drug War helps one to understand how Hong Kong cinema can move on in the age of Chinese cinema.  相似文献   

4.
This research was designed to examine the moderation roles of common social identity and multiculturalism on the established relationship between Mainland Chinese's perceived value incongruence with Hong Kong Chinese and their negative attitude towards Hong Kong Chinese. A survey study was conducted among 202 college students in Mainland China and the results showed Mainland Chinese's value incongruence with Hong Kong Chinese significantly predicted their negative intergroup attitude. In addition, the results also revealed that among participants with high identification with the super-ordinate Chinese national group, this negative relation was significantly weaker than those with low Chinese identification. In addition, among participants with high multiculturalism endorsement, the relation between value incongruence and intergroup attitude was significantly weaker than those with low level of multiculturalism. Implications of this research and future directions were discussed based on these findings.  相似文献   

5.
Abstract

In this paper, gender negotiations in the production, musical forms, and consumption of Cantopop are taken as a cultural exemplar for a social and political imagination of ambivalence, which seems to be shaping popular life in Hong Kong. It has three focal points – musical forms and expressions of Cantopop (style, lyrics, iconography, affect), gender politics, and ‘everyday‐ness’ – which converge to mark a notable cultural logic performing an enlarging sense of ambivalence about a city that has seen a shift from high moments of economic prosperity to the current postcolonial uncertainties. In other words, Cantopop signals a shift in our sensibilities, a redrawing of our affective map of everyday life after an important historical and politico‐administrative shift. In a sense then, this paper explores Hong Kong's changing identity within the sight and sound of popular culture, by specifically tracing some of the ways in which gender politics is inscribed, coded, negotiated, performed, or simply flirtingly posed on the surface of popular culture.  相似文献   

6.
Research on acculturation has documented that adaptation to a receiving society is affected by both the immigrants’ acculturation strategies and the dominant group's expectations about how immigrants should acculturate. However, the acculturation expectations have received relatively less attention from researchers, and support for multiculturalism has rarely been examined from the perspective of immigrants. The present study used the framework of the Mutual Intercultural Relations in Plural Societies (MIRIPS) project to investigate the acculturation experiences and intercultural relations in Hong Kong by incorporating mutual views of both the dominant and non-dominant groups. It also tested the mediating role of the dominant group's tolerance towards different cultural groups and the non-dominant group's perceived discrimination. Two community samples were recruited, including Hong Kong residents (N = 181) and immigrants from Mainland China (N = 182). Among Mainland immigrants, the integration strategy predicted both psychological adaptation and sociocultural adaptation. Multicultural ideology predicted psychological adaptation and played a significant role in intercultural contact with Hong Kong people through the mediation of lower perceived discrimination. Among Hong Kong residents, the integration expectation predicted psychological adaptation. Multicultural ideology indirectly affected intercultural contact with Mainland immigrants through the mediation of greater tolerance. These results suggest that the integration strategy and expectation are more important to intrapersonal functioning, whereas multicultural ideology may be more crucial in facilitating social interactions between members of the society of settlement and immigrants in culturally plural milieus. Future research should test the proposed models of dominant and non-dominant groups in other cultures.  相似文献   

7.
Hong Kong cinema is an emerging component of the booming Chinese film industry twenty years after the transfer of Hong Kong’s sovereignty from Britain to China. Hong Kong filmmakers and film companies now routinely collaborate with the mainland industry to produce for the mainland audience, prompting many creative artists and companies of the Hong Kong industry to relocate to the mainland. Based on the fundamental idea that both mainland Chinese cinema and Hong Kong cinema are constantly reshaping as a result of inter- and trans-cultural exchanges, this article adopts a bottom-up approach to re-examine the top-down-managed cultural nationalisation of Hong Kong cinema. Hong Kong (co-)produced films are increasingly devoid of local sensibilities and identities. Film companies and talents of the Hong Kong film industry, at least in the mainstream sector, are gradually incorporated into the film industry in the mainland. Notwithstanding these overwhelming tendencies, I suggest that Hong Kong cinema’s legacies exist beyond narrative strategies and genre approaches, and have started to show in film companies’ role in, and their capability of, challenging and reshaping the future of the Chinese screenscape. Specifically, through the examination of a series of film projects from Milkyway Image, a Hong Kong-based film production company, this article shows that Hong Kong cinema’s renationalisation is a process of simultaneous cooperation, negotiation, and resistance.  相似文献   

8.
Abstract

In popular culture, Hong Kong is probably the most “Japanese city” outside Japan. It is home to a wide variety of Japanese popular cultural products and a regional base to many of the Japanese music and television companies who expanded their operations in the city in the early 1990s. Hong Kong's emerging middle class, especially the younger generation, has enthusiastically accepted Japanese contemporary culture and lifestyle, making the city one of the biggest destinations for Japan's cultural exports. Based on fieldwork surveys and interviews, this paper looks at the organizational aspect of popular culture during the heydays of Japanese popular culture in Hong Kong in the 1990s and early 2000s. The investigation focuses on the marketing strategies and promotional efforts used by agents of Japanese popular culture in Hong Kong and the role of popular culture piracy in this process. Beyond analyzing the Japanese case, the paper introduces a new framework to examine the transnational expansion of popular cultures across markets in East and Southeast Asia, highlighting the role of companies and promoters in this process.  相似文献   

9.
The mainstream acculturation research focuses on international students and immigrants’ settlement in a new cultural environment, but little is known about the adaptation process of people from postcolonial areas relocating to their home country. Drawing from research on acculturation and postcolonial studies, this research examined the importance of language and social identity of Macao Chinese (N = 102; 50 males, Mage = 20.1) transitioning to universities in Mainland China. The results of path analysis showed that Chinese national identity and perceived Mandarin language proficiency were positively associated with each other, but they were linked to cultural adaptation through different paths. Perceived language proficiency was directly linked to social, academic, and psychological adaptation, whereas Chinese identity was indirectly associated with social and academic adaptation through acculturation to the Mainland Chinese culture. Moreover, academic adaptation was, in turn, associated with academic achievement (i.e., GPAs). The present study extends acculturation research to a postcolonial context, highlighting that national identity and language proficiency are important factors for successful cultural adaptation to the homeland. The theoretical and practical implications regarding intra-cultural adaptation barriers andprocesses in postcolonial contexts were discussed.  相似文献   

10.
In-depth interviews were conducted for 203 Hong Kong Chinese in Mainland China (HIM) and 198 Mainland Chinese in Hong Kong (MIH), followed by two-level theme analyses, to examine their communication experiences and adaptation. The two groups were found to be dissimilar in terms of socioeconomic status, purpose of migration, and process of adaptation. Many HIM tended to evaluate the new environment from a “new workplace” view, mentioning adjustment and communication at workplace. Most MIH, on the other hand, used a “new home” approach, expecting a happy life with good income. The major challenge for most HIM was getting used to a less developed physical environment and an organizational culture with lower efficiency and work ethics. For most MIH, the main source of hardship came from insufficient protection for workers’ rights and interests. Hong Kong is more urbanized with superficial relationships while the Mainland society is more communal, nurturing long-term relationships.  相似文献   

11.
Abstract

This paper is intended to provide a space for reflection on Hong Kong’s transgender movement at its current stage, with particular reference to the objectives and activities of the Hong Kong Transgender Equality and Acceptance Movement (‘TEAM’). Established in 2002, TEAM was the first organized group of transgender people and supporters in Hong Kong. First, the paper examines the emergence of the transgender movement in Hong Kong, situating the stated objectives of TEAM in the broader social, legal and political context in Hong Kong. It then considers the successes and limitations of TEAM’s activities to date, measured against its objectives. Finally, it examines why Hong Kong’s transgender community has not yet fought for the right to legal recognition of their gender identity, as have transgender individuals and transgender movements in many other countries around the world. In the Asia‐Pacific region these include Australia, Japan, the People’s Republic of China, the Philippines, Singapore, South Korea and New Zealand. Through interviews with members of TEAM, the paper questions whether legal recognition is indeed a concern and/or priority for Hong Kong’s transgender community, and, if so, what prevents Hong Kong transgender people from claiming their right to legal recognition in the courts or through the political process.  相似文献   

12.
Abstract

1997 as a global media spectacle about Hong Kong’s handover of its sovereignty from Britain to China is now almost forgotten; yet Hong Kong is still caught between the politics of time and memory too complex to be captured under simple post‐colonialist notion such as ‘hybridity’. This paper tries to put in perspective a (post‐)colonial cultural politics of counter‐memory in Hong Kong cinema by investigating its decades‐long investment in a sub‐genre built around the motif of undercover‐cop. Specifically, the example of the blockbuster Infernal Affairs series is analyzed in details, with particular attention to its innovative plot, to show how the ‘structure of feeling’ about Hong Kong’s political fate is embedded in the films underpinning their local box‐office success. The allegorical reading of the film series attempted in this paper also connects the discussion about the ‘political unconscious’ of Hong Kong, now and in the past, with the wider problem of how the future political subjectivity of Hong Kong will take shape.  相似文献   

13.
Abstract

Although the mother-tongue of some 90% of the population in Hong Kong is Cantonese, schools and universities in Hong Kong have witnessed the downgrading and even abandoning of Cantonese as a medium of instruction (MOI) in classrooms. For universities, this process is accelerated by the discourses of “internationalization.” For primary and secondary schools, the main compelling force is parents’ anxiety over their children's future. This paper discusses the social context in which the forsaking of Cantonese as a medium of instruction has occurred, and also the unintended consequences of silencing the mother-tongue of most of the Hong Kong students (and teachers) in secondary schools and universities.  相似文献   

14.
The Forum of Chinese Modern Dance took place in Beijing in July, attracting cultural celebrities, scholars and dancers from Mainland China, Hong Kong and  相似文献   

15.
The success of Kung Fu Hustle within and beyond Hong Kong provides a convenient starting point for a discussion of actor‐director Stephen Chow's films and the manner in which they present themselves as belonging to a particular ‘local’ context. The production of the local is a critical issue in south Indian cinemas, where the local has been named as the linguistic‐cultural identity and became available for political mobilization. Chow's work has significant implications for the study of south Indian cinemas because the dissimilarities between the two facilitate the identification of similar cinematic techniques used by both.  相似文献   

16.
Abstract

In Hong Kong, even though the Bill of Rights Ordinance (the localized version of ICCPR), Sex Discrimination Ordinance and a series of legal reforms (such as the cancellation of marital exemption of rape and the recognition of sexual discrimination in criminal law) were enacted and introduced respectively since the 1990s, gender/sexual discrimination in the legal discourse still persists; for example: Chinese customary law which only recognizes the male’s right to build small houses in the New Territories remains an exception under the Sex Discrimination Ordinance; the government insists on not tabling an anti‐sexual‐orientation discrimination bill; the right to same sex marriage/partnership is still absent from any legal‐political agenda; and so on. Some politicians and academics argue that any attempt to transplant a Euro‐American individual‐centric perspective of gender/sexual equality/justice will violate the Han‐Chinese culture of harmony. In the paper, I will adopt a critical perspective in examining the above argument and examine why harmony politics becomes a meta‐narrative in Han‐Chinese socio‐legal culture and how human nature/subjectivity is re‐constituted in such a context. I will further argue that a culture should always be meticulously and critically represented and investigated in order to reproduce ‘gender/sexual justice’. I will also investigate the possibility of scrutinizing and exploring the spaces of resistance within the Han‐Chinese socio‐legal culture in Hong Kong, where foreign theory of gender/sexual justice/equality and related legal reforms can be engaged to politicize current discrimination and suppression.  相似文献   

17.
This paper makes a parallel reading of two recent urban protest movements: the 2013 Istanbul Gezi Park Movement (GPM) and the 2014 Hong Kong Umbrella Movement (UM). As regional centers at both ends of Asia, Istanbul and Hong Kong might at f?rst sight appear to be incongruent cities for comparison. Istanbul’s recent past has been defined by contrasting opinions about the city’s post-imperial identity, while Hong Kong’s recent past has been shaped by competing visions around the city’s post-colonial status. Directing attention to the striking parallels between the GPM and UM in terms of the nature of the events themselves, the profile of the participants and opponents, the government response that they received, and the cultural sensitivities concerning the questions of belonging and identity that they rekindled, the paper argues that comparative studies of the new urban protest movements would provide significant insights for discerning the dynamics of emerging illiberal democracies across the world.  相似文献   

18.
Abstract

This paper discusses one way to articulate queer male identity politics in 1990s Japan through Fran Martin’s conceptualization of the ‘mask’ (Martin 2003 Martin, Fran. 2003. Situating sexualities: queer presentation in Taiwanese fiction, film and public culture, Hong Kong: Hong Kong University Press.  [Google Scholar]). By comparatively examining two key Japanese ‘gay’ coming‐out narratives, the paper shows how a reading of queer subject formation in the decade through a metaphor of ‘masking’ can shed light on the complex scenarios functioning beneath the surface of identity politics. I argue that the notion of ‘masking’ is useful in reading the multiple axes incorporated into queer identity formation in Japan in the context of globalization. The paper further refutes any reductive claim that queer identity in Japan can be understood in terms of essentialist epistemological binaries, such as global/local, West/non‐West, and Japan/abroad.  相似文献   

19.
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20.
Abstract

This essay deals with the social and political after‐shock introduced by SARS, which is considered here as both a public health outbreak and an urban cultural crisis. In Hong Kong, several years after the epidemic episode, the people’s voice regarding urban spatial politics, governance, and the media has not only grown louder, but has also been profoundly transformed into collective effervescence. This essay is based on over 50 interviews of ordinary Hong Kong residents from a wide spectrum of demographics. A particular focal point of the interviews was, inevitably, the participants’ reformulation of their identity as a function of urban crisis. Chiefly a documentation of the vernaculars of public criticism offered by the citizens of Hong Kong, this essay relates post‐SARS public sentiments to the (somewhat fiddly) development of democratic ideals that is animating our urban imagination today.  相似文献   

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