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Journal articles on the topic 'Hong Kong – Festivals'

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Author: Grafiati

Published: 25 July 2024

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1

Xie, Heshen. "Western-Centrism and the Global Queer Film Festival Circuit." Journal of Festive Studies 4, no. 1 (February 23, 2023): 83–100. http://dx.doi.org/10.33823/jfs.2022.4.1.105.

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Since they emerged in the late 1970s, queer film festivals have turned into a global cultural activity. A complex worldwide network of queer film festivals has also formed. This article establishes the framework of the global queer film festival circuit to examine the hegemonic relationships it produces. The global queer film festival circuit comprises top-tier film festivals and second-tier queer film festivals. As the first queer-themed film festival in Asia, the Hong Kong Lesbian and Gay Film Festival (HKLGFF) is situated in a subordinate and passive position. Aiming to emphasize the unbalanced relationship among queer film festivals on a global scale, this article argues that due to commercial considerations and the lack of festival resources, the HKLGFF’s programming is dominated by the choices of top-tier film festivals and thus reproduces Western-centrism. Through the analysis of the HKLGFF’s programming process and criteria, it also demonstrates how top-tier film festivals influence the programming of second-tier queer film festivals by dominating the global market of queer films. Overall, this article expands the concept of the queer film festival circuit, addressing the significance of small-scale queer film festivals in the global South to worldwide queer culture as well as the global circulation of queer films.

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WENZHEN, Minghua Liu, Xinyao Li, and Qiyue Ren. "Rural Festivals and Rural Cultural Spaces Creation: A Case Study of the “Yim Tin Tsai Arts Festival”." International Journal of Arts and Humanities Studies 3, no. 4 (October 26, 2023): 10–17. http://dx.doi.org/10.32996/ijahs.2023.3.4.2.

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The “Yim Tin Tsai Arts Festival”, a three-year artistic program, represents a pioneering effort to revitalize rural areas using art as a catalyst. This initiative is designed to explore and address various social issues arising from urbanizing. While rural festivals, including the “Yim Tin Tsai Arts Festival”, play a pivotal role in promoting regional economic development through the creation of cultural spaces, they face the challenge of homogenizing their tourism destination image. This article applies design strategy concepts to explore the impact of rural festivals and cultural spaces on the cultural benefits of the host region, using the “Yim Tin Tsai Arts Festival” in Hong Kong as a case study. Utilizing methods such as desk research and data analysis, this study examines and discusses the significant issues within the field of research regarding the influence of rural festivals and cultural space development. Furthermore, we present the following research focus and development directions for the study of the impact of rural festivals and cultural space development.

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3

Wu, Helena. "The making of the citizen-spectator in postmillennial Hong Kong: Authorial and spectatorial engagement with independent documentary films." Asian Cinema 33, no. 2 (October 1, 2022): 191–207. http://dx.doi.org/10.1386/ac_00055_1.

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Established by several independent filmmakers in Hong Kong in 1997, Ying E Chi (YEC) has facilitated the production and the distribution of Hong Kong independent films by means of VCD/DVD releases, video streaming, film festivals and community screenings. The non-profit body has played a key role in aiding local independent filmmakers’ projects, seeking film distribution opportunities locally and transnationally and building community networks in its home city. As the organizer of the Hong Kong Independent Film Festival since 2008, YEC has demonstrated its fluid translocal positioning by not just promoting the works of local filmmakers, but also introducing worldwide independent cinema to Hong Kong audiences. In retrospect, the development of YEC has reflected the transforming cultural landscape of Hong Kong to different degrees. From cinephiles and academics to the public, the audiences YEC has developed over the years indicates an ever-changing spectatorship in the making, bespeaking the various responses to the social environment under which these films were made, shown and watched. This article will use YEC as a case study to explore the mutual impacts between documentary films and their spectatorship which have shaped independent filmmakers’ production and distribution strategies continuously in postmillennial Hong Kong, particularly in the wake of the 2014 Umbrella Movement and the 2019 Anti-Extradition Law Amendment Bill Movement. The article will draw on interviews with local independent filmmakers, in order to understand how industry practices and dynamics have responded to identification, social events and audience behaviours over time. In this regard, spectatorship is understood as not just an embodied experience of film viewing, but also a series of affinities between the filmmaker, the audience and the film work. As a whole, the article will probe how the idea of citizen-spectator has evolved and has become inscribed in spectatorial engagement with independent documentary films, which has oscillated between audiences’ approval and authorities’ disapproval in postmillennial Hong Kong.

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4

Chan, Selina Ching. "Creepy No More." Review of Religion and Chinese Society 6, no. 2 (December 12, 2019): 273–96. http://dx.doi.org/10.1163/22143955-00602007.

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Ever since the classification of Hong Kong’s Chaozhou Hungry Ghosts Festival as a national-grade intangible cultural heritage in 2011, a series of conservation activities have been initiated by some local Chaozhou communities, ngos, and the Hong Kong government. One of these activities is the Chaozhou Hungry Ghosts Cultural Festival, and this paper discusses the heritagization of religious festivals by examining the invention of this festival. The Cultural Festival reveals how the elite-cum-businessmen attempt to educate the general public, to promote the festival so as to reverse its decline in popularity, and to celebrate ethnic culture and Chinese culture. To overwrite the old-fashioned stereotypical creepy images associated with the traditional Hungry Ghosts Festival, new programs featuring spectacular and fun elements have been invented. This paper delineates how these newly invented programs highlight and promote moral and cultural meanings and capture the attention of the general public, especially the younger generation, thereby attracting wider participation in the festival. I will discuss how the spectatorial, participatory, and educational aspects of the Cultural Festival are meant to attract domestic visitors as well as international tourists. Nevertheless, the majority of worshippers and local organizers do not have a significant role in the Cultural Festival.

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5

Ng, How Wee. "Boo Junfeng on funding, festivals and Chinese privilege." Asian Cinema 31, no. 1 (April 1, 2020): 131–37. http://dx.doi.org/10.1386/ac_00018_7.

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The interview was motivated by an interest in exploring how Singapore film directors perceive the three major Chinese cinema awards, mainly the Golden Horse Awards (GHA), Hong Kong Film Awards (HKFA) and Golden Rooster Awards (GRA), and what they might signify for Singapore cinema, especially for a nation that is predominantly ethnic Chinese. Amongst the directors interviewed, Boo Junfeng went beyond to share his views on film education, funding and the implications of racial politics and ethnic privilege underlying the nomination for international film awards.

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6

Hwang, Soo-Young, and Sung-Hyuk Kim. "Differences in Perception of Evaluation Attributes between Local Residents and International Tourists in Clan Festival: A Case on a International Clan Gathering." Tourism Sciences Society of Korea 39, no. 4 (May 31, 2015): 59–76. http://dx.doi.org/10.17086/jts.2015.39.4.59.76.

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International Local communities are increasingly exerting their efforts to attract many international tourists through events such as a clan event festival. There has yet to be development of a model that can be implemented to evaluate the distinct results of each international or local festival from the overall point of view of local residents and the international tourists that participate and enjoy the benefits of the festivals. Therefore, this study aims to identify the differences in perceptions of the attribute evaluation between local residents and international tourists participating in clan event festival. A total of 220 copies of the questionnaire are distributed to local residents and international tourists participating in the clan event festival, and 212(96%) were used as the data for the final mixed method approach. The results are international tourists(China, Hong Kong, Singapore, Taiwan, Republic of Korea and America) and local residents(Malaysia) had significantly differences in their perception of the evaluation attributes of the clan event festival.

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7

Sun, Yi. "Shaping Hong Kong cinema’s new icon: Milkyway Image at international film festivals." Transnational Cinemas 6, no. 1 (January 2, 2015): 67–83. http://dx.doi.org/10.1080/20403526.2014.1002671.

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8

Boyle, Stephen, Carmen Reaiche Amaro, Chengzhong Wu, and Md Wahid Murad. "Factors Correlated with Visitors’ Interest in the Best International Show: Evidence from Hong Kong Arts Festivals." Journal of Developing Areas 49, no. 5 (2015): 101–13. http://dx.doi.org/10.1353/jda.2015.0064.

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9

Guo, Man, and Carsten Herrmann-Pillath. "Lineage, Food and Ritual in a Chinese Metropolis." Anthropos 114, no. 1 (2019): 195–208. http://dx.doi.org/10.5771/0257-9774-2019-1-195.

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Thirty years ago, the eminent sinologist James Watson published a paper in Anthropos on ‘common pot’ dining in the New Territories of Hong Kong, a banquet ritual that differs fundamentally from established social norms in Chinese society. We explore the recent career of the ‘common pot’ in neighbouring Shenzhen, where it has become an important symbol manifesting the strength and public role of local lineages in the rapidly growing mega-city. We present two cases, the Wen lineage and the Huang lineage. In case of the Wen, we show how the practice relates to their role as landholding groups, organized in a ‘Shareholding Cooperative Companies’ that is owned collectively by the lineage. In the Huang case, identity politics looms large in the context of globalization. In large-scale ‘big common pot festivals’ of the global Huang surname association, traditional conceptions of kinship merge with modernist conceptions of national identity.

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10

Armatage, Kay, and Xiqing Qin. "Clara Law Cheuk-yiu's Transcultural Cinema." Feminist Media Histories 5, no. 1 (January 1, 2019): 63–94. http://dx.doi.org/10.1525/fmh.2019.5.1.63.

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Clara Law (Law Cheuk-yiu) has amassed a substantial body of work as a writer and/or director, with upward of twenty feature credits between 1985 and 2015. Starting with her early Hong Kong–based films addressing sexuality, The Reincarnation of Golden Lotus (Pan Jin Lian zhi qian shi jin sheng, 1989) and Temptation of a Monk (1993), Law embraced transnational cinema through invitations and awards from major international film festivals, as well as participating in Erotique (1994), a compilation film with multinational contributors. Her work insistently interrogates the interconnections among concepts of Asia, transcultural migrations, and filmmaking practice through narratives that exceed “Chineseness” both in terms of culture and ethnicity, and in terms of expectations for Asian women directors. Reconfigurations of sexual and cultural identity, and geopolitical correspondences and differentiations, consistently recur in her filmic narratives, as characters encounter new personal, cultural, racial and ethnic formations in the wake of geopolitical transmigrations.

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11

Kenworthy Teather, Elizabeth. "Time out and Worlds Apart: Tradition and Modernity Meet in the Time-Space of the Gravesweeping Festivals of Hong Kong." Singapore Journal of Tropical Geography 22, no. 2 (July 2001): 156–72. http://dx.doi.org/10.1111/1467-9493.00100.

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12

Kaihua, Xu. "OUTSTANDING REPRESENTATIVES OF THE CHINESE SCHOOL OF CHORAL PERFORMANCE." Arts education and science 2, no. 35 (2023): 107–16. http://dx.doi.org/10.36871/hon.2023020107.

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This article is about improving the quality of choral conducting education in China and, in this regard, the authority of the conductor's profession. Choral conductors are working to update the methodological literature, which should help to improve the Chinese system of choral conducting education. A great contribution to the development of choral conducting specialty was made by such masters as Zhou Shuang, the first professional vocal teacher in the modern history of China and the first female choirmaster and composer in China, as well as conductors Yang Jiaren, Ma Geshun, Wu Lingfen, who got their choral conducting education at the Moscow Conservatory. Zhang Shizhong made a considerable contribution to the development of choral art in China. He actively worked in the field of children's choral education, which has not been cultivated in China for a long time. Zhang Shizhong tirelessly promoted the art of choral singing in Beijing secondary schools. His monograph “Methods of Working with a Children’s Choir” was the culmination of this work. Equally active in choral conducting are young specialists such as Leon Chu and Patrick Chiu, who not only lead choirs in Hong Kong, but also organize various choral festivals and competitions.

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13

Moy, James S. "1998 Hong Kong Fringe Festival (review)." Theatre Journal 50, no. 4 (1998): 535–37. http://dx.doi.org/10.1353/tj.1998.0122.

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14

Hattler, Max. "The Abstracted Real: Speculations on Experimental Animated Documentary." International Journal of Film and Media Arts 6, no. 3 (December 31, 2021): 37–54. http://dx.doi.org/10.24140/ijfma.v6.n3.03.

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Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installation, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doctorate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London International Animation Festival, among others. He has published on expanded stereoscopic approaches in experimental filmmaking and the narrative potential of abstraction in animation. He has spoken widely at international conferences such as CONFIA, the Society for Animation Studies Conference, Animafest Scanner, Ars Electronica’s Expanded Animation Symposium and the Annual China Animation Studies Conference in Chengdu. Max Hattler is the co-founder and chairman of Relentless Melt, a Hong Kong-based society for the promotion, production and dissemination of abstract and experimental animation, which presents screenings in Hong Kong and internationally. He serves on the board of directors of the iotaCenter and the editorial boards of Animation: An Interdisciplinary Journal, and Animation Practice, Process & Production.

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15

Ingham, Mike. "Too much reality? Reflections on the educational-observational film world of Tammy Cheung and Augustine Lam." Asian Cinema 33, no. 2 (October 1, 2022): 147–60. http://dx.doi.org/10.1386/ac_00052_1.

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My article reassesses the direct cinema documentaries of respected and influential documentarians, festival organizers and documentary teachers Tammy Cheung and Augustine Lam in the light of the profound changes Hong Kong has experienced since their work was produced and distributed in the first decade of the new millennium. The present commentary on their body of work is conceived primarily as a critical retrospective, although it seems highly like they will continue to make films in self-imposed exile related to the new Hong Kong diaspora. In this article I am interested in tracing a through-line in their work and connecting the subject-matter of their sociological documentaries with the profound changes that have taken place in Hong Kong society and culture over the past few years.

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16

Yeung, Jessica Siu-yin. "“I wish my films would bring hopes to the spectators”." Archiv orientální 90, no. 3 (December 22, 2022): 565–74. http://dx.doi.org/10.47979/aror.j.90.3.565-574.

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Michael Hui received the Lifetime Achievement Award at the 40th Hong Kong FilmAwards and the Award for Outstanding Contribution in Arts at the 15th Hong Kong ArtsDevelopment Awards. Hui was also featured as the “Filmmaker in Focus” at the 44thHong Kong International Film Festival. Although the South China Morning Post (2022),Art and Piece (2022), Michael Hui, Filmmaker in Focus (2020), Karen Fang (2018), and TimYoungs (2011) have also published interviews with Hui, they were more interested inthe biographical and the industrial aspects of Hui’s career. This interview focuses onHui’s insights into comedy’s versatility and how it consoles people in a time of gloom.

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17

White, Cameron L. "Pixels, Police, and Batons." Film Quarterly 74, no. 3 (2021): 9–22. http://dx.doi.org/10.1525/fq.2021.74.3.9.

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The 2019 Hong Kong protests witnessed not only sustained physical demonstrations by locals, but also a swell of online digital media that recorded and remixed conflicts between protestors and police. By documenting key moving images that circulated throughout social media and the film festival circuit, White’s essay reorients Hong Kong film studies’ relationship with the digital. Although cinema played a secondary role in the 2019 protests compared to digital media, numerous intertextual linkages demonstrate the productive potential of considering the two together. Special attention is given to the cops-and-robbers genre, a linchpin in local film history and a frequent form of choice for Hong Kong-mainland China coproductions. While the troubled representation of police in 2019 and beyond suggests that the future of the genre is unstable, the ingenuity of recent digital media demonstrates Hong Kong’s enduring potential for moving image innovation.

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18

Wicks, P. C. "Things Chinese. By J. Dyer Ball, with an introduction by H. J. Lethbridge. Hong Kong: Oxford University Press, 1982. Pp. xvi, iv, 766. Index. Hardcover. - The Moon Year: a record of Chinese customs and festivals. By J. Bredon and I. Mitrophanow, with an introduction by H. J. Lethbridge. Hong Kong: Oxford University Press, 1982. Pp. xi, 508, xx. Illustrations, Bibliography, Index. Hardcover." Journal of Southeast Asian Studies 16, no. 1 (March 1985): 176–77. http://dx.doi.org/10.1017/s0022463400012923.

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19

Boyle, Stephen, Carmen Reaiche, Abm Abdullah, and Wahid Murad. "Predicting International Visitors' Interest In Hong Kong Arts Festival." Event Management 20, no. 4 (November 18, 2016): 593–605. http://dx.doi.org/10.3727/152599516x14745497664550.

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20

Siu, Michael Kin Wai. "The Mid-Autumn Festival Lantern in Contemporary Hong Kong." Design Issues 14, no. 3 (1998): 19. http://dx.doi.org/10.2307/1511891.

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21

Jason Gleckman. "Shakespeare Performance in Hong Kong: The Chinese Universities Shakespeare Festival." Shakespeare Review 46, no. 4 (December 2010): 917–23. http://dx.doi.org/10.17009/shakes.2010.46.4.010.

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22

Chan, Eric S. Y., Edmund C. K. Chan, W. S. Ho, and Walter W. K. King. "Boiling wax burn in mid-autumn festival in Hong Kong." Burns 23, no. 7-8 (November 1997): 629–30. http://dx.doi.org/10.1016/s0305-4179(97)00074-0.

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23

Zhang, Weixiao. "The Life and Times of Lilian Lee: An Analysis of Lee's Screenplays From Psychological and Stylistic Perspectives." Asian Journal of Social Science Studies 5, no. 1 (February 4, 2020): 32. http://dx.doi.org/10.20849/ajsss.v5i1.728.

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Lilian Lee, a novelist and screenwriter, is a prominent figure in the Hong Kong film industry and literary circles. Her unique writing style has earned her wide acclaim. Most of her works feature romances, fantasies or mysteries, showing her creative imagination. However, she didn't let love stories and supernatural elements overshadow the full picture she depicted. Instead, she further explored themes such as gender identity, sexual orientation and feminism, and dug deeper into a broad range of topics including mortality, fatality, history and patriotism. She revealed the complexity of human nature and the inner conflicts her characters underwent through incisive remarks and heart-rending stories. Her best-known works include Farewell My Concubine, Green Snake, Rouge and Kawashima Yoshiko, all of which are considered masterpieces, representing a milestone in the history of Asian cinema. Farewell My Concubine remains the only Chinese-language film to win both the Palme d'Or at the Cannes Film Festival and the Golden Globe Award for Best Foreign Language Film. It was included in Time's list of "All-Time" 100 Movies in 2005. Rouge had 16 nominations and awards at the Hong Kong Film Awards and the Taipei Golden Horse Film Festival. It also earned Lee the Hong Kong Film Award for Best Screenplay. The critical and commercial success of these films is largely attributed to Lee's screenwriting, and the success of her screenwriting rests on her relatively fixed writing mindset. This article focuses on screenplays written by Lilian Lee and analyzes her construction of plot, narrative techniques and her writing mindset and style, by exploring the influence of her personal experience, aesthetic preference, writing habits, and her cultural, social and educational background on her works.

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Lee, Hiu Yan. "A Case of "Disneyization"? The Cheung Chau Bun Festival, Hong Kong." Tourism Culture & Communication 17, no. 2 (July 13, 2017): 107–17. http://dx.doi.org/10.3727/109830417x14966810027553.

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25

Qin. "A Waning Queerscape: The Hong Kong Lesbian and Gay Film Festival." Journal of Film and Video 71, no. 3 (2019): 35. http://dx.doi.org/10.5406/jfilmvideo.71.3.0035.

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26

Davis, Bob. "The 37th Hong Kong International Film Festival: Beautiful, bad, and beyond." Asian Cinema 24, no. 2 (October 1, 2013): 271–76. http://dx.doi.org/10.1386/ac.24.2.271_7.

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Guan, Jingqiu. "The 2018 Jumping Frames International Dance Video Festival in Hong Kong." Media Practice and Education 20, no. 1 (January 2, 2019): 126–28. http://dx.doi.org/10.1080/25741136.2019.1574412.

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Ferrari, Rossella. "The Stage as a Drawing Board: Zuni Icosahedron's Architecture Is Art Festival." TDR/The Drama Review 55, no. 1 (March 2011): 137–48. http://dx.doi.org/10.1162/dram_a_00053.

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The multimedia performances of the Architecture Is Art Festival explore the connections of architecture, theatre, and architecture in theatre to voice a number of concerns relating to heritage preservation and technological development, historical memory and current politics. The interrogatives raised by these performances are intimately connected with the ontology of Hong Kong identity and testify to the spirit of traveling—through cultures, media, and disciplines—and the attitude of questioning that has become synonymous with Zuni Icosahedron.

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Keyser, Anne Sytske. "PRC and Hong Kong Films At the 1997 International Rotterdam Film Festival." China Information 11, no. 4 (March 1997): 117–25. http://dx.doi.org/10.1177/0920203x9701100410.

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Sofield, Trevor H. B., and Atara Sivan. "From cultural festival to international sport – the Hong Kong dragon boat races." Journal of Sport & Tourism 1, no. 3 (May 15, 1994): 5–17. http://dx.doi.org/10.1080/10295399408718541.

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Sofield, Trevor H. B., and Atara Sivan. "From Cultural Festival to International Sport - The Hong Kong Dragon Boat Races." Journal of Sport & Tourism 8, no. 1 (January 2003): 9–20. http://dx.doi.org/10.1080/14775080306242.

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Ferrari, Rossella. "Asian Theatre as Method: The Toki Experimental Project and Sino-Japanese Transnationalism in Performance." TDR/The Drama Review 61, no. 3 (September 2017): 141–64. http://dx.doi.org/10.1162/dram_a_00678.

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In 2012, Zuni Icosahedron (Hong Kong), Za-Koenji Public Theatre (Tokyo), and the Jiangsu Kun Opera Theatre (Nanjing) initiated the Toki Project, an intercultural platform devoted to the transmission of kunqu and noh through contemporary performance. Originating from a Shanghai Expo 2010 commission, Toki provides a theatrical application of Chen Kuan-hsing’s influential notion of “Asia as method.” As epitomized by the yearly One Table, Two Chairs performances at Nanjing’s Toki Arts Festival, Toki partakes in Asia as method’s effort toward “decolonization, deimperialization, and de-cold war” through aesthetic and epistemological deconstruction, endorsing a dialogic model of intercultural performance as inter-Asian relation.

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Oracion, Enrique G. "The Sinulog Festival of Overseas Filipino Workers in Hong Kong: Meanings and Contexts." Asian Anthropology 11, no. 1 (January 2012): 107–27. http://dx.doi.org/10.1080/1683478x.2012.10600859.

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Siu, Kin Wai Michael. "Lanterns of the Mid-Autumn Festival: A Reflection of Hong Kong Cultural Change." Journal of Popular Culture 33, no. 2 (September 1999): 67–86. http://dx.doi.org/10.1111/j.0022-3840.1999.3302_67.x.

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Lee, PC, WM Ching, CW Kam, and HH Yau. "A Case Series of Candle Wax Burns during the Lantern Festival in Hong Kong." Hong Kong Journal of Emergency Medicine 9, no. 4 (October 2002): 221–25. http://dx.doi.org/10.1177/102490790200900408.

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Every year there was significant number of burn cases during the Lantern (Mid-Autumn) Festival in Hong Kong because children liked to play with fire on that day. They would either burn the lantern or boil the wax from candles in a pot over a fire. When the wax has melted, they poured cold water into it, causing a small explosion with water vapour and wax droplets. Children and adolescents were more common than adults to be burnt by the hot vapour, fire or hot wax. The majority sustained partial thickness burns involving the face. Such burn injuries should be preventable by education and legislation.

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36

Brooke, Mark. "The Language of Dragon Boating in Hong Kong and Singapore." Revista Alicantina de Estudios Ingleses, no. 32 (December 15, 2019): 45. http://dx.doi.org/10.14198/raei.2019.32.03.

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This research draws on elements of systemic functional linguistics to conduct a discourse analysis of dragon-boating in Asia, predominantly in the commercial areas of Hong Kong and Singapore, where this sport has both a long history and strong culture today. It seeks to understand how experiential and interpersonal meanings are related to this sport in a variety of online texts ranging from local news media sites, corporation team websites, sites from dragon boat companies specialising in training corporations, dragon boat paddlers’ websites and other popular sources such as ‘expatliving’. Findings demonstrate that dragon boating has certain unique characteristics which help to give it significance in this region. With the Duanwu Festival held annually, the sport is steeped firmly in mythology and legend. Additionally, the nature of the boat as a synchronised machine is exploited by corporations and linked to competitive performance. As an intense sport, physical and mental attributes such as ‘strength’ and ‘tenacity’ are associated with it; the upper body requirements of the practice also gives it a unique trait for breast cancer survivors. ‘Tragedy’ is also a part of dragon boat’s modern history with a fatal accident for the Singapore men’s team during an international race in Cambodia. In sum, the sport of dragon boating can be seen to have a rich schema of semiotic associations in Hong Kong and Singapore.

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Lo, Steven Ka Ho, Billy Yin Sing O, and Jimmy Chun Yu Louie. "Food and beverage advertising in Hong Kong mass transit railway stations." Public Health Nutrition 23, no. 14 (June 11, 2020): 2563–70. http://dx.doi.org/10.1017/s136898002000083x.

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AbstractObjectives:To examine the extent and characteristics of food and beverage (F&B) promotion in Hong Kong mass transit railway (MTR) stations in districts with different socioeconomic statuses (SES) and school density.Design:All advertisements located in the eight selected MTR stations were recorded by photographs or videos, and classified into F&B and non-F&B. The percentage of F&B advertisements and unhealthy F&B being promoted, and common persuasive marketing strategies used in F&B advertisements were compared between low v. high SES districts and school zones v. non-school zones.Setting:MTR stations in Hong Kong.Participants:Not applicable.Results:Of the 8064 advertisements documented, 861 (10·7 %) were F&B advertisements, promoting 1860 F&B items. More than half of the these were unhealthy foods. Stations in high SES districts or school zones tend to advertise more unhealthy items (high v. low SES: 55·8 v. 50·8 %, P = 0·049; school v. non-school: 60·8 v. 49·3 %, P < 0·001). More than one-third of the F&B advertisements recorded did not utilise any of those persuasive marketing techniques that were examined, and using models (13·9 %) or providing discounts (8·8 %) were the two most frequently used non-festival-related persuasive marketing strategies.Conclusions:Unhealthy F&B advertising in MTR stations is prevalent regardless of SES and school density, and persuasive marketing strategies were infrequently used. These suggest that a ban on unhealthy F&B advertising around schools or the use of persuasive marketing strategies alone would be ineffective in Hong Kong. To align with the recommendation from WHO, a universal ban of junk food advertising should be enacted.

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Lau, Chammy Y. L., and Yiping Li. "Producing a sense of meaningful place: evidence from a cultural festival in Hong Kong." Journal of Tourism and Cultural Change 13, no. 1 (April 3, 2014): 56–77. http://dx.doi.org/10.1080/14766825.2014.892506.

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Cheung, Ruby. "Ever-changing readjustments: the political economy of the Hong Kong International Film Festival (HKIFF)." New Review of Film and Television Studies 14, no. 1 (January 2, 2016): 59–75. http://dx.doi.org/10.1080/17400309.2015.1107268.

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MORTON, BRIAN, K. CHAN, and JOSEPH C. BRITTON. "HUNGER OVERCOMES FEAR IN NASSARIUS FESTIVUS, A SCAVENGING GASTROPOD ON HONG KONG SHORES." Journal of Molluscan Studies 61, no. 1 (1995): 55–63. http://dx.doi.org/10.1093/mollus/61.1.55.

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Chan, S. C., and S. Cai. "PRESERVING AND EXHIBITING INTANGIBLE CULTURAL HERITAGE VIA VIRTUAL MUSEUM: A CASE STUDY OF THE HUNGRY GHOSTS FESTIVAL IN HONG KONG." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 24, 2023): 405–11. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-405-2023.

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Abstract. This paper documents and reflects on the process of preserving and presenting the ICH in the form of a virtual museum by taking the case study of a China’s national-grade intangible cultural heritage – the Hungry Ghosts Festival organized by the Chaozhou community in Hong Kong. The documentation, exhibition and interpretation in this virtual museum adopt a participatory bottom-up approach, in which the voices of the local organizers and participants are highlighted, and personal anecdotes are played up. The virtual museum intends to aggregate and exhibit all the elements of this ICH in one virtual space, including its origins and development, the tangible artefacts it entails, its dynamic and fluidic nature (e.g., ambiance, performance, communal spirits), and its multiple layers of meanings. As the Hungry Ghosts Festival celebration lasts merely a matter of days each year at a particular place for a local community, this virtual museum enables a wider public to access this festival at any time, in any place and from different dimensions. This paper shows how the virtual museum presents the aforementioned facets of the ICH through different display techniques and evaluates their usefulness, including (1) traditional text and image panels, (2) 3D reconstructed scene and models, and (3) 360-degree video. This is significantly different from the earlier work, which mainly focused on the accuracy of re-enacting the given form of intangible cultural heritage, such as performance and craftsmanship in a virtual environment, or a particular creative presentation by professional performers and elites with specific meanings.

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Zhumabekova, Dana Zh, and Madina B. Kapeu-Kokhanova. "XTH INTERNATIONAL VIOLIN COMPETITION “ASTANA-VIOLIN” IN MEMORY OF DAVID OISTRAKH." Arts education and science 1, no. 38 (2024): 192–98. http://dx.doi.org/10.36871/hon.202401192.

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From 6 to 11 November 2023, Astana hosted the Xth International Violin Competition “Astana- Violin” in memory of David Oistrakh. The event was timed to mark the 25th anniversary of the founding of the Kazakh National University of Arts and was held with the support of the Ministry of Culture and Information of the Republic of Kazakhstan. The jury of the Xth International Violin Competition “Astana-Violin” was headed by Aiman Mussakhajayeva, People’s Artist of the Republic of Kazakhstan, Hero of Labor of Kazakhstan, Rector of KazNUI. It included People’s Artist of the Russian Federation Zakhar Bron (Switzerland), Vice‒Rector of the National Music Academy of Vietnam Bui Kong Diu (Vietnam), Artistic Director of the Vietnam Connection Music Festival Chong Wu (USA), Music Director of the Fargo-Moorhead Symphony Orchestra, conductor Christopher Zimmerman (USA), founder (together with Igor and Valery Oistrakh) of the Oistrakh Ensemble, Artistic Director of the Ost-West-Musikfest Festival Gernot Winischhofer (Austria), People’s Artist of Kyrgyzstan, conductor Ernis Asanaliev (Kyrgyzstan). The Jubilee Competition was attended by 45 young performers from different countries in two age categories: junior group (10–15 years old) and senior group (16–28 years old). The winner of the Grand Prix in the senior group was Sarah Dragan (Switzerland, class of Z. Bron). The jury members awarded personal prizes and diplomas.

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Sinn, Elizabeth, and Wai-Ling Wong. "Place, identity and immigrant communities: The organisation of the Yulan Festival in post-war Hong Kong." Asia Pacific Viewpoint 46, no. 3 (December 2005): 295–306. http://dx.doi.org/10.1111/j.1467-8373.2005.00290.x.

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Chan, Selina Ching. "Unequal Inscriptions of the Hungry Ghosts (Yulan) Festival Celebrations as Intangible Cultural Heritage in Hong Kong." China Perspectives, no. 132 (March 1, 2023): 49–59. http://dx.doi.org/10.4000/chinaperspectives.14625.

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Hung, Ryan K. H., Patrick S. H. Yung, Samuel K. K. Ling, Dino Samartzis, Cliffton Chan, Claire Hiller, Esther T. C. Cheung, Veronika Schoeb, Brenton Surgenor, and Arnold Y. L. Wong. "Prevalence of dance-related injuries and associated risk factors among children and young Chinese dance practitioners." Medicine 102, no. 47 (November 24, 2023): e36052. http://dx.doi.org/10.1097/md.0000000000036052.

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While Chinese dance is a popular dance genre among Chinese teenagers and adults, little is known regarding the prevalence of dance-related injuries or factors associated with such injuries among Chinese dance practitioners. The current cross-sectional study aimed to determine the prevalence of dance-related injuries and their associated risk factors among young Chinese dance practitioners in Hong Kong. Online surveys were distributed to dancers through local dance associations, while paper-based surveys were distributed to young Chinese dance performers during the 54th School Dance Festival in Hong Kong. Self-reported hours of dancing, injuries in the last 12 months, injury sites, and related factors were collected. The injury rate, 12-month prevalence of dance-related injuries were determined. Risk factors for common dance injuries were analyzed using separate multivariate regression models. A total of 175 children (aged 10–14 years) and 118 young (aged 15–24 years) Chinese dance practitioners provided their dance injury information. Young dancers had a significantly higher injury rate (6.5 injuries vs 4.6 injuries/1000 dance hours) and 12-month prevalence (52.5% vs 19.4%) than their child counterparts. The most commonly injured sites were the knee (children:7.4%; young:15.3%), lower back (children: 4.6%; young: 9.5%), and ankles (children: 5.1%; young: 16.9%). Age was a significant independent risk factor for dance-related injuries to the upper back, lower back, and pelvis/buttock (odds ratios ranging from 1.2 to 1.3/additional years). Additionally, height was a significant independent risk factor for lower limb injury (odds ratios ranging from 1.0–1.1/additional centimeter). Collectively, young Chinese dance practitioners are more vulnerable to dance-related injuries than are child dancers. Older age increases the risk of trunk injuries, whereas taller dancers are more likely to sustain lower-limb injuries. Future research should determine the mechanisms underlying dance-related injuries among these dancers.

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Yang, Shiqi. "A Study on the Narrative Methods of Times Still Turns the Pages from the Perspective of Trauma Theory." Arts Studies and Criticism 4, no. 2 (December 22, 2023): 39. http://dx.doi.org/10.32629/asc.v4i2.1458.

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Times Still Turns the Pages (2023) is a feature film directed by Hong Kong director Zhuo Yiqian and produced by Er Dongsheng. The film received five nominations at the 60th Golden Horse Awards and was shortlisted for the World Focus Unit at the 36th Tokyo International Film Festival. The story begins with an unclaimed anonymous suicide note, triggering middle school teacher Zheng Sir’s search for the story behind the suicide note. This search process evoked the painful memory of his brother’s suicide when he was young, allowing him to re-face the trauma deep in his heart. Through this story, the film reveals the family, campus and social issues behind the phenomenon of teenage suicide. On a deeper level, it explores the short life span of a damaged soul and how the living carry trauma and heal themselves. The film explores how people face, understand and deal with trauma, and raises the possibility of rebuilding the ruins of the soul through love and telling.

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MORTON, B. "THE POPULATION DYNAMICS OF NASSARIUS FESTIVUS (GASTROPODA: NASSARIIDAE) ON THREE ENVIRONMENTALLY DIFFERENT BEACHES IN HONG KONG." Journal Molluscan Studies 70, no. 4 (November 1, 2004): 329–39. http://dx.doi.org/10.1093/mollus/70.4.329.

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Chuk, Peter, Albert Tsai, and Alan Siu. "Comparing community clients of different dietary pattern on their health indicators at a vegetarian festival in Hong Kong." Clinical Health Promotion - Research and Best Practice for patients, staff and community 9, no. 2 (December 31, 2019): 33–39. http://dx.doi.org/10.29102/clinhp.19006.

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Tam, Michael Man-kit, and Wai-lun Cheung. "Analysis of wax burn cases presenting to an Emergency Department in Hong Kong during the Chinese Mid-Autumn festival." Burns 29, no. 4 (June 2003): 359–62. http://dx.doi.org/10.1016/s0305-4179(02)00242-5.

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Morton, Brian, and K. Chan. "The natural diet and degree of hunger of Nassarius festivus (Gastropoda: Nassariidae) on three beaches in Hong Kong." Journal of Molluscan Studies 69, no. 4 (November 2003): 392–95. http://dx.doi.org/10.1093/mollus/69.4.392.

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