Relevant bibliographies by topics / Independent filmmakers – Hong Kong

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Independent filmmakers – Hong Kong'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Independent filmmakers – Hong Kong"

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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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Lee, Joseph Tse-Hei. "Despair and hope: cinematic identity in Hong Kong of the 2000s." Social Transformations in Chinese Societies 13, no. 2 (September 5, 2017): 173–88. http://dx.doi.org/10.1108/stics-04-2017-0010.

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Purpose The goal of this article is to examine the current trends of political cinema in postcolonial Hong Kong. Many leaders of the Hong Kong mainstream cinema have accepted the Chinese authoritarian rule as a precondition for expanding into the ever-expanding Mainland film market, but a handful of conscientious filmmakers choose to make political cinema under the shadow of a wealthy and descendant industry, expressing their desire for democracy and justice and critiquing the unequal power relations between Hong Kong and China. Design/methodology/approach This paper consults relevant documentary materials and cinematic texts to contextualize the latest development of political cinema in Hong Kong. It presents an in-depth analysis of the works of two local independent filmmakers Herman Yau and Vincent Chui. Findings This study reveals a glimpse of hope in the current films of Herman Yau and Vincent Chui, which suggests that a reconfiguration of local identity and communal relationship may turn around the collective despair caused by the oppressive measures of the Chinese authoritarian state and the end of the Umbrella Movement in late 2014. Research limitations/implications Despite the small sample size, this paper highlights the rise of cinematic localism through a closer look at the works of Hong Kong independent filmmakers. Practical implications This study reveals an ambivalent mentality in the Hong Kong film industry where critical filmmakers strive to assert their creativity and agency against the externally imposed Chinese hegemonic power. Originality/value This investigation is an original scholarly study of film and politics in postcolonial Hong Kong.
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Zeng, Jinyan. "Documentary Film, Gender, and Activism in China: A Conversation with Ai Xiaoming." Film Quarterly 74, no. 1 (2020): 45–50. http://dx.doi.org/10.1525/fq.2020.74.1.45.

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FQ board member and contributor Chris Berry translates a conversation between the independent female filmmakers Ai Xiaoming and Zeng Jinyan. Although of different generations, Xiaoming and Zeng are both outliers in China's male-dominated film industry. The most prominent women filmmaker among the first generation of independent documentarians, Ai Xiaoming has lived under virtual house arrest since Xi Jinping's rise to power in 2012. Zeng Jinyan came to public attention in 2006, when she documented the disappearance of her husband, civil rights activist Hu Jia, in a protest blog; she later completed a PhD on the work of Ai Xiaoming while in exile in Hong Kong. Both women have recently reentered public life, Ai Xiaoming writing about her experiences of the novel coronavirus lockdown in her hometown of Wuhan and Zeng releasing a new film, Hanjiao yu eryu (Outcry and Whisper), focusing on the special pressures placed on women who dare to speak out in public in China.
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Marchetti, Gina. "Documentary and democracy: An interview with Evans Chan." Asian Cinema 33, no. 2 (October 1, 2022): 257–75. http://dx.doi.org/10.1386/ac_00059_7.

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Gina Marchetti’s interview with NewYork-based Hong Kong independent filmmaker Evans Chan took place after Chan had said goodbye to his former home and to nearly three decades of filmmaking in the city, following the introduction of Hong Kong’s National Security Law in 2020. Her interview focuses on Chan’s non-fiction filmmaking, particularly his recent films dealing with Hong Kong’s two protest movements of 2014 and 2019, namely Raise the Umbrellas 撐傘 () and We Have Boots 我們有雨靴 (). While the latter part of the interview concerns Chan’s thoughts on the relationship between documentaries and democracy, it also explores the signature aesthetics of his films and an underlying ‘story of Hong Kong’, which the interviewer sees as a consistent thread running through his fiction and non-fiction filmography. A wide range of cinematic, literary, sociopolitical and philosophical influences in his work emerge in the course of this in-depth interview with the filmmaker.
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Fang, Karen. "Cinema Censorship and Media Citizenship in the Hong Kong Film Ten Years." Surveillance & Society 16, no. 2 (July 14, 2018): 142–57. http://dx.doi.org/10.24908/ss.v16i2.6826.

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Cinema censorship is a relatively unexplored topic in the discipline of surveillance studies. While movies are frequent references throughout the scholarship, such citations tend to be limited to plot and imagery and overlook the ways in which the medium can be subject to state intervention or other forms of censorship and self-censorship. This essay uses the case of the 2015 Hong Kong independent film Ten Years to explore how cinema deserves to be considered alongside other media and communications whose vulnerability to institutional control and monitoring are already widely documented by surveillance studies. The film, which reflects Hong Kong residents’ critique of mounting Chinese power, was the object of an aggressive vilification and repression campaign by the mainland Chinese government. It also spawned a grassroots defense in which audiences and filmmakers mobilized around the film as a symbol and site of civic discourse and political critique. Using the concepts of participatory media and online activism and connecting Ten Years with Hong Kong’s 2014 “Umbrella” protests against Chinese rule, this essay shows how cinema invites the same interventions and interactivity as social media and other digital or communications technologies. Indeed, because Ten Years’ history of populist activism resembles well-known instances of media mobilization such as the Arab Spring and Black Lives Matter, this essay demonstrates not only cinema’s multiple dimensions of relevance for surveillance studies but also uncovers new global spaces whose film history will diversify surveillance studies.
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Chen, Fangyu. "The rupture in Hong Kong cinema: Post-2000 Hong Kong cinema(s) as both a transnational cinema and a national cinema." Lumina 14, no. 1 (April 30, 2020): 68–83. http://dx.doi.org/10.34019/1981-4070.2020.v14.30238.

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This paper traces artistic and ideological discrepancies between the young generation of Hong Kong filmmakers and their predecessors – the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing studies of national cinema and transnational cinema in the last three decades, the author argues that current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggles for better preservation of Hong Kong local culture and their own cultural identities. To conduct the research, 47 people were interviewed including13 established filmmakers, 16 young filmmakers and18 film students from 3 universities in Hong Kong. The three groups of respondents generally represent three perspectives: that of the established film practitioners, who have a vested interest in the current co-production era; that of the emerging young film practitioners, who above all crave a flourishing local film market and whose productions exhibit stronger Hong Kong cultural identities; lastly, that of the, who were predominantly born in the 1990s and have the most extreme views against mainland China and whose filmmaking ideologies and practices foreshadow the future of the industry.
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Chen, Fangyu. "The post-2000 Hong Kong young filmmakers: Embrace, resistance and new chances." New Cinemas: Journal of Contemporary Film 17, no. 2 (September 1, 2020): 209–26. http://dx.doi.org/10.1386/ncin_00017_1.

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This article is a text-based analysis of 107 Hong Kong local productions produced from 2000 to August 2018. These films are made by the current young generation of filmmakers who joined the industry in the new millennium, when it gradually entered an era marked by the domination of Hong Kong–mainland co-productions. With the aim of expanding the scholarly discussion on the emerging ‘Hong Kong SAR New Wave Cinema’, it identifies four themes that recurrently appear in their films: (1) a tendency to feature people with physical or mental disabilities as their protagonists; (2) the possession of a sense of nostalgia for the glorious 1980s; (3) a manifestation of larger Hong Kong–mainland relations through characters; and (4) varying degrees of politicization. The young generation of filmmakers, whose works denote the social responsibility these young people bring to their filmmaking, shows their greater engagement with civic issues, less consideration of the mainland market and capital and a stronger desire to tell local Hong Kong stories, preserve local Hong Kong culture and emphasize the Hong Kong identity it represents. These traits, as the conclusion argues, are rooted deeply in economic, cultural and political realities.
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Yeung, Jessica. "The ‘We’ in two pairs of documentaries about protests by The 70’s Biweekly syndicate and the 2019 Hong Kong Documentary Workers." Asian Cinema 33, no. 2 (October 1, 2022): 161–75. http://dx.doi.org/10.1386/ac_00053_1.

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In the history of Hong Kong, the two largest and most impactful waves of social movements took place in the 1960s–70s and in the 2010s. The two documentaries-pair, 香港保衛釣魚台示威 (The Protect Diao Yu Islands Protest in Hong Kong) (1971) and 給香港的文藝青年 (To Hong Kong Intellectual Youths) (1978) produced by the anarcho-pacifist 70年代雙週刊 (The 70’s Biweekly) syndicate, and 佔領立法會 (Taking Back the Legislature) (2020) and 理大圍城 (Inside the Red Brick Wall) (2020) produced by Hong Kong Documentary Filmmakers effectively construct a ‘We’ of the protesters in alliance in the Butlerian sense. In the case of the 2020 films, this ‘We’ is unwittingly expanded by the government by imposing censorship on them, thus creating another layer of alliance with some Hong Kongers who might not have even watched the films, but stand in solidarity with the filmmakers in defending freedom of expression.
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Cheung, Siu Keung, and Wing Sang Law. "The colony writes back: nationalism and collaborative coloniality in the Ip Man series." Social Transformations in Chinese Societies 13, no. 2 (September 5, 2017): 159–72. http://dx.doi.org/10.1108/stics-04-2017-0007.

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Purpose The majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To many critics, the two-part series of Ip Man and Ip Man II provide a paradigmatic case of film co-production that sell the tricks of Chinese kung fu, regurgitating the overblown Chinese nationalism against Japanese and kwai-lo. The purpose of this study is to rectify such observation of the Ip Man series. Design/methodology/approach The authors read the series deconstructively as a postcolonial text in which Hong Kong identity is inscribed in the negotiated space in between different versions of Chinese nationalism. Findings The analysis points to the varying subversive features in the series from which Hong Kong’s colonial experiences are tacitly displayed, endorsed and rewritten into the Chinese nationalistic discourse whose dominance is questioned, if not debased. Originality/value This paper advances new research insights into the postcolonial reinvention of kung fu film and, by implication, the Hong Kong cinema in general.
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Li, Yi. "Melancholic Nostalgia, Identity Crisis, and Adaptation in 1950s Hong Kong: Ba Jin’s Family on Screen." Adaptation 13, no. 3 (May 4, 2020): 313–33. http://dx.doi.org/10.1093/adaptation/apz029.

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Abstract The communist takeover of mainland China in 1949 created physical, cultural, and political segregation between the mainland and Hong Kong, thus fostering a sense of dislocation and alienation among filmmakers who had migrated to Hong Kong from the mainland. The aim of this study is to explore the symbiosis between nostalgia and adaptation in Hong Kong cinema within the cultural landscape of 1950s Hong Kong, when Cold War politics was operating. With a detailed analysis of the 1953 Hong Kong film adaptation of mainland writer Ba Jin’s novel Family, and a comparative reading with the mainland film version produced in 1956, this study illustrates the cultural and historical significance of nostalgia in the development of Hong Kong cinema. This article further argues that nostalgic sentiment was expressed effectively through adaptations, while simultaneously improving these adaptations artistically and strengthening their political alignment with the mainland.
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Dissertations / Theses on the topic "Independent filmmakers – Hong Kong"

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Chung, Wai-tao. "Appointment system of the Independent Commission Against Corruption." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2205053X.

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Huen, Yuk-wan, and 禤育昀. "The representation of space and cultural memory in Hong Kong independent comics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48334601.

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This paper explores the way Hong Kong independent comics encapsulate the essence of the city. Independent comics are distinguished from mainstream comics by their specific mode of production. More significantly they demonstrate an emphasis on subjective personal creativity and craftsmanship, which stands out sharply in the pervasive objective culture in modern society. Adopting an anthropological approach in representing local ways of living, these comics attempt to map an identity of Hong Kong in a way that is free from confusing influences of her postcolonial history, her political subordination to China and the global capitalist forces. The artists of independent comics embrace the essence of local culture by focusing on space and cultural memory and thereby rediscovering the truth and characteristics of life in Hong Kong. As a form of popular cultural text, Hong Kong independent comics package the local identity and history into fashionable goods for cultural consumption. Together with this, the articulation of a shared past creates forces of cohesion that binds the community together and offers a way for the people to negotiate their identity.
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Lam, Ka-pik. "Police complaints system and the proposed legislation : Independent Police Complaints Council Bill /." View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38838503.

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Tse, Yin-man Jacky, and 謝賢文. "An independent progress review of the Chemical Waste Treatment Centre in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31253295.

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Tse, Yin-man Jacky. "An independent progress review of the Chemical Waste Treatment Centre in Hong Kong /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1472361X.

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Gidwani, Anoop Gulab. "The impact and accountability implications of the Bill of Rights in relation to the Independent Commission Against Corruption." Thesis, [Hong Kong : University of Hong Kong], 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13762175.

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Lam, Ka-pik, and 林家碧. "Police complaints system and the proposed legislation: Independent Police Complaints Council Bill." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39312422.

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Ting, Wai-ding Percy, and 丁惠定. "Property price is independent of the amount of land supply: a case study of Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31269278.

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Lau, Hoi-keung John, and 劉海強. "Motivation of middle management staff in property management company: a comparison between subsidiary companiesof a developer and independent management companies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B45008930.

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Xu, S. X. "Hong Kong cinema since 1997 : the response of filmmakers following the political handover from Britain to the People's Republic of China." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/350770/.

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This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. From that day onwards, Hong Kong cinema would no longer enjoy its previously unfettered and uninhibited revolutionary creativity and the Hong Kong film industry could thereby be perceived as being “in crisis”. In considering whether these predictions have actually come to pass, this thesis sets out to focus on exploring representative Hong Kong filmmakers’ activities and performances following Hong Kong becoming a Special Administrative Region (SAR) of the People’s Republic of China (PRC) from 1997 onwards. The exploration of the chosen filmmakers’ activities and performances includes examining the filmmaking practices that they have embraced and analysing the exhibition and distribution patterns adopted by the films that they have produced. The intention is to examine to what extent the political transition has shaped these filmmakers’ filmmaking practices and to observe the characteristics exhibited by the distribution and exhibition aspects of the films since the handover in order to specify any connection they may have with the momentous political handover. This thesis intends to show how Hong Kong cinema has responded to the challenges of an age of transition and globalisation through in-depth analyses of the activities of these key industry personnel that have elevated Hong Kong cinema’s position of regional and global popularity, and the commercially and critically significant films that they have made, covering the wider spectrum of genre, including those of action, comedy, realistic, horror and romantic drama. It is the aim of this thesis to present a new perspective that contributes to the study of post-colonial Hong Kong cinema.
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Books on the topic "Independent filmmakers – Hong Kong"

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Thảo, Nguyẽ̂n Văn, and Viện nghiên cứu khoa học pháp lý (Vietnam), eds. Tài liệu chó̂ng tham nhũng. Hà Nội: Bộ tư pháp, Viện nghiên cứu khoa học pháp lý, 1994.

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Hanzhong, Wang. Zou jin Xianggang lian zheng gong shu. Beijing: Guo jia xing zheng xue yuan chu ban she, 2019.

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Hong Kong (China). Provisional Urban Council. and Xianggang dian ying zi liao guan., eds. The making of martial arts films: As told by filmmakers and stars. Hong Kong: Provisional Urban Council, 1999.

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Hong Kong (China). Independent Commission Against Corruption. Centre of Anti-Corruption Studies. Seminar. Centre of Anti-Corruption Studies opening ceremony and seminar. Hong Kong]: Centre of Anti-Corruption Studies, Independent Commission Against Corruption, 2009.

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Su, Tao. Dian ying nan du: "nan xia ying ren" yu zhan hou Xianggang dian ying (1946-1966) = Drifting south : Shanghai emigre filmmakers and postwar Hong Kong cinema, 1946-1966. Beijing Shi: Beijing da xue chu ban she, 2020.

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香港獨立電影圖景. Hong Kong: 手民出版社, 2018.

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Fan, Victor. Extraterritoriality. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440424.001.0001.

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This book examines how Hong Kong filmmakers, spectators and critics wrestled with a perturbation: What is Hong Kong cinema? Framed between the Leftist Riots (1967) and the aftermath of the Umbrella Movement (2014), this book scrutinises the interdependent relationship between cinema and politics by rethinking how Hong Kong cinema has been historically in-formed by dispossession and exclusion, rather than identity and belonging. It traces how Hong Kong’s extraterritoriality has been framed: in its position of being doubly occupied and doubly abandoned by contesting juridical, political, linguistic and cultural forces. It argues that filmmakers and spectators actively define and reconfigure Hong Kong cinema and media by fostering them as a public sphere, where contesting affects associated with these political lives’ shifting extraterritorial conditions and positions can be negotiated. Based on a combination of archival research, industrial studies, textual analysis and media and political philosophies, Extraterritoriality studies how creative works in mainstream cinema, independent films, television, video artworks and documentaries – especially those by marginalised artists – actively rewrite and reconfigure the way Hong Kong cinema and media are defined and located. These stylistically and political diverse works and practices seek – in their respective manners – to foster new ways to live with Hong Kongers’ double occupancy and double ostracisation that constantly deindividuate, desubjectivise, and deautonomise them, and how they can survive in their constant state of exception.
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Chen, Fangyu. Nascent Filmmakers in Hong Kong, 2000-2020. Lexington Books/Fortress Academic, 2023.

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Costa, G. Independent Guide to Hong Kong Disneyland 2020. Independent Publishing Network, 2020.

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Costa, G. Independent Guide to Hong Kong Disneyland 2020. Independently Published, 2020.

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Book chapters on the topic "Independent filmmakers – Hong Kong"

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Wong, Kam C. "Independent Inquiry." In Public Order Policing in Hong Kong, 217–68. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98672-2_7.

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Marchetti, Gina. "Feminism, Postfeminism, and Hong Kong Women Filmmakers." In A Companion to Hong Kong Cinema, 235–64. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781118883594.ch12.

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Kwok, Levon. "The Practicality of Social Media and Independent Media." In The Independent Media Movements in Hong Kong and Taiwan, 80–101. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294993-5.

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Kwok, Levon. "Characteristics of Inmediahk and Coolloud's Independent Media Movements." In The Independent Media Movements in Hong Kong and Taiwan, 65–79. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294993-4.

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Kwok, Levon. "Conclusion." In The Independent Media Movements in Hong Kong and Taiwan, 102–13. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294993-6.

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Kwok, Levon. "Standing With Laborers and Activists." In The Independent Media Movements in Hong Kong and Taiwan, 43–64. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294993-3.

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Kwok, Levon. "Fighting Against Media Monopoly." In The Independent Media Movements in Hong Kong and Taiwan, 23–42. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294993-2.

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Kwok, Levon. "Introduction." In The Independent Media Movements in Hong Kong and Taiwan, 1–22. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294993-1.

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Leung, Daniel, Hee Andy Lee, and Rob Law. "Adopting Web 2.0 technologies on chain and independent hotel websites: A case study of hotels in Hong Kong." In Information and Communication Technologies in Tourism 2011, 229–40. Vienna: Springer Vienna, 2011. http://dx.doi.org/10.1007/978-3-7091-0503-0_19.

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Yeo, Su-Anne. "Translating the Margins: New Asian Cinema, Independent Cinema, and Minor Transnationalism at the Hong Kong Asian Film Festival." In Chinese Film Festivals, 301–20. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_15.

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Conference papers on the topic "Independent filmmakers – Hong Kong"

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Bing Lu, Alireza Dibazar, and Theodore W. Berger. "Nonlinear Hebbian Learning for noise-independent vehicle sound recognition." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4633971.

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Chin-Teng Lin, Nikhil R. Pal, Chien-Yao Chuang, Tzyy-Ping Jung, Li-Wei Ko, and Sheng-Fu Liang. "An EEG-based subject- and session-independent drowsiness detection." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4634289.

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Chi-Tie Lu, Tian-Shyug Lee, and Chih-Chou Chin. "Statistical process monitoring using independent component analysis based disturbance separation scheme." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4633795.

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Shijian Lu, Cuntai Guan, and Haihong Zhang. "Learning adaptive subject-independent P300 models for EEG-based brain-computer interfaces." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4634141.

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Ye, Zhengmao, Habib Mohamadian, and Yongmao Ye. "Independent component analysis for spatial object recognition with applications of information theory synthesis." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4634319.

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Refaat, Khaled S., Wael N. Helmy, AbdelRahman H. Ali, Mohamed S. AbdelGhany, and Amir F. Atiya. "A new approach for context-independent handwritten offline diagram recognition using support vector machines." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4633786.

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Xie, Jiarong, and Lei Xu. "IDDF2018-ABS-0086 Non-alcoholic fatty pancreas disease as an independent predictor of acute pancreatitis: a retrospective study of 264 patients." In International Digestive Disease Forum (IDDF) 2018, Hong Kong, 9–10 June 2018. BMJ Publishing Group Ltd and British Society of Gastroenterology, 2018. http://dx.doi.org/10.1136/gutjnl-2018-iddfabstracts.101.

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Huang, Shu Huan, Wen Sy Tsai, Jeng Fu You, Yu Jen Hsu, Yih Jong Chern, Hsin Yuan Hung, Chien Yuh Yeh, et al. "IDDF2018-ABS-0152 The preoperative cea can be an independent predictive factor for colorectal cancer patients after curative resection in long-term outcome." In International Digestive Disease Forum (IDDF) 2018, Hong Kong, 9–10 June 2018. BMJ Publishing Group Ltd and British Society of Gastroenterology, 2018. http://dx.doi.org/10.1136/gutjnl-2018-iddfabstracts.131.

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Waller, Karen, David Prince, Miriam Levy, Simone Strasser, Geoff McCaughan, Margaret Teng, and Daniel Huang. "IDDF2023-ABS-0140 The liver frailty index is an independent predictor of mortality in patients with advanced hepatocellular carcinoma undergoing systemic therapy: a multicentre prospective observational study." In Abstracts of the International Digestive Disease Forum (IDDF), Hong Kong, 10–11 June 2023. BMJ Publishing Group Ltd and British Society of Gastroenterology, 2023. http://dx.doi.org/10.1136/gutjnl-2023-iddf.139.

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Shi, Ying, and Yongwen Yang. "The Study on the Guidelines of Urban Public Open Space for Non-independent Land :Taking New York and Hong Kong as Examples." In International Conference on Advances in Energy, Environment and Chemical Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/aeece-15.2015.66.

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