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1
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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Zhan, Li. "An Analysis of Reception Aesthetics of China’s “Co-productions”." Learning & Education 10, no. 2 (September 16, 2021): 78. http://dx.doi.org/10.18282/l-e.v10i2.2278.
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The development of co-productions between Hong Kong and the mainland has always been accompanied by political, economic, cultural and other factors of traction, and has also brought different degrees of influence to the aesthetic presentation of co-productions. After CEPA, Hong Kong filmmakers began to “go north” with their mature film production experience and are ready to show their skills in the vast mainland market. Similarly, there are various aspects of the Hong Kong film industry chain. The policy was issued so that the co-production of the two places was formally incorporated into the national system.
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Ka Ming, Chan. "Trivisa or Amphetamine?" Social Transformations in Chinese Societies 13, no. 2 (September 5, 2017): 118–36. http://dx.doi.org/10.1108/stics-04-2017-0008.
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Purpose Since the launch of the Mainland and Hong Kong Closer Economic Partnership Arrangement (CEPA) in 2003, Hong Kong cinema is believed to have confronted drastic changes. Hong Kong cinema is described to be dying, lacking creative space and losing local distinctiveness. A decade later, the rise of Hong Kong – China coproduction cinema under CEPA has been normalized and changed the once pessimism in the industry. The purpose of this paper is to demonstrate how Hong Kong cinema adjusted its production and creation in the first 10 years of CEPA. Design/methodology/approach Beginning with a review of the overall development, three paradigmatic cases are examined for reflecting upon what the major industrial and commercial concerns on the Hong Kong – China coproduction model are, and how such a coproduction model is not developed as smooth as what the Hong Kong filmmakers expected. Findings Collectively, this paper singles out the difficulties in operation and the limit of transnationality that occur in the Chinese context for the development of Hong Kong cinema under the Hong Kong – China coproduction model. Originality/value This is the author’s research in his five-year study of Hong Kong cinema and it contributes a lot to the field of cinema studies with relevant industrial and policy concern.
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Marchetti, Gina. "Hong Kong Independent Filmmaking." Afterimage 14, no. 10 (May 1, 1987): 16–17. http://dx.doi.org/10.1525/aft.1987.14.10.16.
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Marchetti, Gina. "Hong Kong Independent Filmmaking." Afterimage 14, no. 10 (May 1, 1987): 16–17. http://dx.doi.org/10.1525/aft.1987.14.10.16.
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Marchetti, Gina. "The gendered politics of sex work in Hong Kong cinema." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 12–30. http://dx.doi.org/10.33178/alpha.10.01.
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The portrayal of women as prostitutes is common in Hong Kong cinema, and filmmakers have looked at sex work from various perspectives: as a social problem, as an index of women’s economic exploitation more generally, as a way to explore the relationship between economics and sexuality, as a window onto the world of sexual minorities and as erotica. Scriptwriter Elsa Chan, working in conjunction with director Herman Yau, has made two features about women in the Hong Kong sex industry—Whispers and Moans (性工作者十日談, 2007) and True Women for Sale(性工作者2 我不賣身·我賣子宮, 2008)—based on Chan’s anthropological studies of women in the sex industry in Hong Kong. Like their earlier collaboration From the Queen to the Chief Executive (等候董建華發落, 2001), these films look at the “sensational” (youth murders, prostitution) with an eye to understanding and, perhaps, remedying social injustice. In fact, the issue of “justice” and women’s role as exploited victims as well as potential agents of change link Elsa Chan’s scripts to the interests of other women filmmakers currently working in Hong Kong. Whispers and Moans and True Women for Sale offer a critical perspective on the circulation of women across borders and gesture toward a feminist intervention into the shadow economy between transnational capitalism and the socialist marketplace in China.
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Zhang, Yingjin. "Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. By Poshek Fu. [Stanford, CA: Stanford University Press, 2003. 288 pp. £14.95. ISBN 0804745188.]." China Quarterly 180 (December 2004): 1111–12. http://dx.doi.org/10.1017/s030574100432076x.
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Despite its short length (152 pages excluding reference matters), this pioneering study in English of “the Shanghai–Hong Kong nexus” in Chinese cinema succeeds in placing wartime Shanghai and Hong Kong cinemas in specific (albeit not always “proper” as Poshek Fu claims (p. xvi)) institutional and industrial contexts, bringing to light the “humanity” of the filmmakers, the “multiplicity of the historical situations,” and the “complexity of the cultural politics” of filmmaking and film criticism (p. xv). Most impressive of all is Fu's dedication to primary research, reading hard-to-find print materials as well as conducting interviews and watching rare films. The book's incredibly rich information (e.g. studio assets, production costs, ticket prices) will certainly interest scholars of modern Chinese history and culture, and Fu's accessible stories should attract general readers as well.After a preface outlining Fu's aims, chapter one, “Mapping Shanghai cinema under semi-occupation,” traces the rise of Zhang Shankun's Xinhua Company in Shanghai and reveals the ambiguities, contradictions and ironies of “Solitary Island cinema” between 1937 and 1941 – a cinema that defied political boundaries and thrived against odds. Chapter two, “Between nationalism and colonialism,” based on Fu's similarly-titled previous study (in The Cinema of Hong Kong: History, Arts, Identity, edited by Fu and David Desser (2000)), discusses Hong Kong's “double marginality” between “Sinocentric” nationalism and British colonialism, and critiques the “Central Plains syndrome” in Shanghai filmmakers stranded in Hong Kong in the late 1930s. Against the Chinese syndrome, Fu asserts, Cantonese films like Southern Sisters (1940) articulated “a both/and hybridity” constitutive of a new “local consciousness” or emergent identity (p. 87). Chapter three, “The struggle to entertain,” derives from Fu's previous article (“The ambiguity of entertainment: Chinese cinema in Japanese-occupied Shanghai, 1942 to 1945,” Cinema Journal, 37.1 (Fall 1997)) and argues against a binary view of either/or (e.g. resistance/collaboration, patriots/traitors). Fu depicts “occupation cinema” as a space of entertainment for the colonized to “escape from Japanese propaganda” (p. xiv), although the both/and logic also compels him to note the paradox that occupation cinema ultimately “helped normalize and naturalize the everyday violence of the occupation” (p. 131). In an epilogue, “Filming Shanghai in Hong Kong,” Fu goes through the changing political–economic situations in post-war Shanghai and Hong Kong.
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Marchetti, Gina. "Handover women: Hong Kong women filmmakers and the intergenerational melodrama of infidelity." Feminist Media Studies 16, no. 4 (June 30, 2016): 590–609. http://dx.doi.org/10.1080/14680777.2016.1193292.
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Guo, Moshan. "From a critical perspective: The defects of Hong Kong comedy since the 1950s." International Journal of Arts and Humanities 3, no. 1 (2022): 101–10. http://dx.doi.org/10.25082/ijah.2022.01.003.
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This paper elucidates the defects of Hong Kong comedy since the 1950s with regard to five aspects: the inflexibility of structure, the obviousness of theme, the drawback of the plot, the slapstick style and the vulgarity of taste. The story and the characters are relatively stereotypical and rigid in terms of structure. The dialogue and the camera angles are straightforward and obvious in the way that they express the theme. With regard to the plot, the structural design is simplistic and lacking in depth and nuance. Their characteristic slapstick style is expressed through the liveliness and nonsense of folk discourse. They are typically in vulgar taste, which finds expression in the customs, imagery and language of carnivalesque civic culture. The Hong Kong comedy genre has a very strong aesthetic tradition and has performed brilliantly in a commercial sense, but filmmakers need to acknowledge and reflect on its shortcomings, with a view to improving the aesthetic quality of Hong Kong comedy films specifically and Chinese comedy films more generally.
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Lo, Sonny Shiu-Hing. "Hong Kong in 2019." Asian Survey 60, no. 1 (January 2020): 34–40. http://dx.doi.org/10.1525/as.2020.60.1.34.
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The anti-extradition movement in Hong Kong began in June 2019 and has evolved since July into protests against police power and the mainlandization of the territory. Although Beijing supports Chief Executive Carrie Lam and the police, the movement persists amid demands for the creation of an independent commission of inquiry into police actions.
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Yee, Winnie L. M. "The post-urban gaze and Hong Kong independent cinema: An ecofeminist perspective." Asian Cinema 30, no. 2 (October 1, 2019): 219–34. http://dx.doi.org/10.1386/ac_00005_1.
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The city has always been a prominent subject in Hong Kong cinema. Land has been seen only as a profitable commodity, controlled by property developers and the wealthy. Instead of exploring the countryside and the traditional farming and fishing villages, people shifted their focus to Hong Kong: its skyline became the only valid point of perception. This marginalization of nature, however, was challenged in 2008 during the dispute between the villagers of Choi Yuen village and the Hong Kong government regarding the construction of Guangzhou‐Hong Kong High-Speed Rail Link, which would demolish the village of 500 people that lay along its path. This article looks at Jessey Tsang’s documentary Flowing Stories (2014) and adopts an ecofeminist perspective on the ways in which Hong Kong’s cultural imaginary has been reinvented in films. The role of documentaries in the independent film scene will be reviewed, especially the social-issue documentaries that have become popular since 2008. An ecofeminist approach to our understanding of Hong Kong could shift the paradigm of our stagnant cultural imaginary ‐ the urban city ‐ and resituate Hong Kong in a closer connection with its surroundings and the world.
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Gentle, Paul. "Some Economic Issues concerning the Loss of the Special Status Relationship between the United States and Hong Kong." SocioEconomic Challenges 6, no. 2 (2022): 67–82. http://dx.doi.org/10.21272/sec.6(2).67-82.2022.
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The demonstrations in 2019, 2020 and thereabouts for the preservation of certain civil rights in Hong Kong, led to some suppression by the Chinese National central government. As a result, some of the special trade advantages between Hong Kong and the U.S. were lost. The economics and cultural special traits helped Hong Kong thrive. Having a judicial system separate from that of Mainland China, allowed for a more commerce producing judiciary. A key requirement for Hong Kong to be treated differently than Mainland China was for Hong Kong to have some independent autonomy, sufficient for the U.S. to see Hong Kong as a separate area politically from Mainland China. In July 2020, the U.S. made the formal decision to take away Hong Kong’s special status, because a sufficiently independent Hong Kong no longer exists. This article examines the history of this phenomena and the results of having that special trade policy changed. Data from recent years show how the economy with Hong Kong and trade with Hong Kong has changed. Unfortunately, some cultural ties and exchanges between the United States and Hong Kong have also been curtailed. These changes regarding cultural ties are beyond the scope of this article. In regard to Chinese support for the United States, Ukraine and NATO, Ukraine in the war between Ukraine and Russia, this should be pointed out. China should support Ukraine, since it is in China’s best interest, and it is the right action to take.
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Tam, Enoch Yee-Lok. "Hong Kong independent political documentary under the regulating dispositif: Inside the Red Brick Wall and beyond." Asian Cinema 33, no. 2 (October 1, 2022): 177–89. http://dx.doi.org/10.1386/ac_00054_1.
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Building upon the momentum of protests, Hong Kong independent documentarians have made efforts to record the past decade’s social movements. From the 2014 Umbrella Movement to the 2019–20 Anti-Extradition Law Amendment Bill Movement, more than a dozen feature-length and short documentaries of different social movements were produced. As political pressure has grown increasingly intense in recent years, the media landscape has been changing rapidly. This article applies the Foucauldian concept of dispositif to analyse these changes. If dispositif can be understood as pertaining to the regulation of power relations, then the dispositif of recent Hong Kong independent political documentaries can illuminate a crucial aspect of the changes: Mainland China and Hong Kong’s closer relationship as a regulating dispositif. Through the case of Inside the Red Brick Wall () and the implementation of the Hong Kong version of the National Security Law, the article shows how this regulating dispositif has recently pushed the deterritorialization of Hong Kong independent political documentary.
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Ingham, Mike, and Kenny K. K. Ng. "Introduction: Hong Kong independent documentaries and their visibility." Asian Cinema 33, no. 2 (October 1, 2022): 117–30. http://dx.doi.org/10.1386/ac_00050_2.
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In their general introduction to the present Special Issue the authors trace the origins of and motivation behind much of the independent documentary filmmaking produced in the city during a period of great sociopolitical turbulence, leading up to the tight censorship protocols put in place after the mainland government’s promulgation of the repressive National Security Law in 2020. With reference to the individual essays that comprise this volume, they chart the sudden and unprecedented rise of documentary filmmaking in Hong Kong following many decades of public indifference to the genre. Limited public and underground screenings that took place before absolute censorship measures were implemented in 2021 showed huge box-office demand for these topical films, reflecting images of ordinary Hong Kong people and their struggle for political representation. This opening essay introduces a range of essays and one interview, mostly in relation to specific films, dealing with the now-contentious coupling of documentary films or television broadcasts and democracy. As the essays indicate, some directors and producers of these observational and participatory documentaries are still active overseas and many of the films discussed can now only be screened outside Hong Kong. Nevertheless, they bear witness to a spirit of resilience and resistance as well as a deep-seated desire for a genuine democracy based on universal suffrage constantly reneged on by the city’s various rulers, from the colonial era until now.
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Qiu, Yizhang, and Sinchit Lai. "Route Competition In Hong Kong." Journal of Air Law and Commerce 89, no. 1 (2024): 73–110. http://dx.doi.org/10.25172/jalc.89.1.4.
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Open sky policies have been implemented for decades, giving birth to many airline newcomers from diverse backgrounds lifting off into liberalized skies. EasyJet, Ryanair, Wizz Air, and Southwest Airlines are examples of independent budget airlines, branding the outcome of aviation liberalization and contributing to interoute competition through their networks. However, Hong Kong International Airport, which aspires to be a better and greater air hub, is crowded with local carriers, and the airport flight timetables rarely show the presence of non-local budget airlines or competing routes. This Article examines the importance of interoute competition and the role that budget airlines play in it. Upon citing the data and traffic schedule to and from HKIA, this Article looks to the HK-Japan and HK-Australia routes as examples of the lack of interoute competition in HK’s internal aviation market. Finally, this Article discusses the reasons leading to such a problem and recommends ways for policymakers to address it.
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Sia, Tiffany. "New Territories." Film Quarterly 76, no. 4 (2023): 9–21. http://dx.doi.org/10.1525/fq.2023.76.4.9.
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What is the “Hong Kong” cathected through film, both past and present? The central project shared by parallel visions of Hong Kong––former and contemporary, narrative fiction and nonfiction documentary, commercial and independent––is that of how to encounter and (re)vivify the past through cinema. But how is it possible to move toward the past, especially the recent past, without a nostalgia tinged by sentimentality or an inherent longing for a fantasy of the past? Chan Tze-woon’s Blue Island offers up a unique challenge to Hong Kong cinema, contesting the former tropes of the sentimental and all its nostalgic reckonings with the past. In theorizing towards a new Hong Kong cinema, this article examines the legacy of its golden age against emerging counterpublics––fugitive, exilic and postnational––that profoundly reshape Hong Kong cinema today within and beyond the local.
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Yee, Winnie L. M. "Reinventing “Nature”." Prism 17, no. 2 (October 1, 2020): 244–63. http://dx.doi.org/10.1215/25783491-8690380.
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Abstract The often-heated debates concerning Hong Kong's literary representations all take as a premise that Hong Kong has an urban identity, defined by its mythic transformation from a fishing village to a metropolis. On the return of the sovereignty to mainland China in 1997, the discourse stresses Hong Kong's exceptional status, reflecting a general anxiety that Hong Kong could be replaced by or even become just another Chinese city. This anxiety for the future is evident in an ecocritical turn, manifested in both the social realm (popular movements and organic communities) and artistic circles (independent cinema and literature). This article looks at Hong Kong literature—Wu Xubin's 吳煦斌 (1949–) stories, Dung Kai-cheung's 董啟章 (1967–) literary experiments, and a recent edited volume about plants—to determine how ecotopian imaginaries and cultural identities are closely linked to different moments in Hong Kong history. The author finds that the ecocritical turn in Hong Kong literature has opened a new space for Hong Kong's postcolonial identity.
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Lee, Zardas Shuk-Man, Phoebe Y. H. Tang, and Carol C. L. Tsang. "Searching for an Identity: Debates over Moral and National Education as an Independent Subject in Contemporary Hong Kong." History Education Research Journal 11, no. 2 (May 1, 2013): 88–97. http://dx.doi.org/10.18546/herj.11.2.07.
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The government of the Hong Kong Special Administrative Region [HKSAR] announced the introduction of Moral and National Education (MNE] as an independent and compulsory school subject in May 2011. The content of MNE's consultation draft and the teaching material produced by government-funded organizations incited about 100,000 people to demonstrate outside the Hong Kong government headquarters for eight consecutive days in early September 2012. Protesters including teachers, parents, students, and concerned members of the public described MNE as 'brainwashing, and demanded the curriculum's withdrawal. This article presents the historical development of national education in Hong Kong, the various challenges the MNE curriculum faced, and the conflicts and negotiations between the government and the public. It first explores the background of national education reform in Hong Kong since 2000. It then examines how the government instructed local schools to teach national identity in subjects of Chinese History and the newly proposed MNE. The next section discusses the declining importance of Chinese History education since 2000. The article concludes by reviewing the voices supporting and opposing MNE, the most recent development in Hong Kong's education today.
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Fung, Chi Keung Charles, and Chi Shun Fong. "Going out under the shadow of Red China: the geopolitical origin of Hong Kong’s international status." Asian Education and Development Studies 8, no. 2 (April 8, 2019): 173–85. http://dx.doi.org/10.1108/aeds-02-2018-0033.
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Purpose Many scholars would agree that the international status of Hong Kong is one of the crucial factors that contribute to the continued success of Hong Kong. However, few of them explain the origin of Hong Kong’s international status. The purpose of this paper is to fill this literature gap through the case study of Hong Kong’s admission to an international organization – the Asian Development Bank (ADB) – in the late 1960s. Design/methodology/approach Based on declassified archives, a historical approach has been adopted to trace the origin of Hong Kong’s international status. Findings The findings suggest that Cold War geopolitics, both local and regional level, explain why Hong Kong, even though remained as a dependent territory of Britain, became a member of an international organization independent from the British influence. While geopolitics at local level incentivized the colonial government to “go out” for external support, geopolitics at the regional level provided an opportunity for Hong Kong to acquire membership of the ADB. Originality/value This paper is among the first academic study on the origin of Hong Kong’s international status.
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Glurjidze, Lili (Lika). "CITY AS A CINEMATIC TEXT AND THE PLACE OF WANDERING CHARACTERS: VISUAL AND ACOUSTIC POETRY." Central Asian Journal of Art Studies 9, no. 2 (July 12, 2023): 15–31. http://dx.doi.org/10.47940/cajas.v9i2.662.
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Abstract. Since the birth of cinema, filmmakers have created personal, political, philosophical, realistic, poetic, emotional and diverse portraits of cities. In the history of art, we’ve seen traveling poets, storytellers, painters, now we can talk about traveling filmmakers and their heroes, who explore and capture their journeys with the film camera. Images from the screen create our perception of places, like modern cities, where we have never been, as their visual or acoustic version is constructed by cinema. From City Symphonies to Essay films and lonely journeys of characters lost in urban landscapes, filmmakers have dialogues, open conversations with cities. Those personal conversations involve - critical thinking, aesthetical study of the place, memories and film language. Kutaisi, Hong Kong, Tokyo, Beijing, Berlin, New York or Paterson, cities from different parts of the world, with different cultural codes and the author’s vision have their visual doubles on the screen and become characters on their own. The article explores different approaches and cinematic dialogues with the cities, their representation and poetry in cinema - visual and acoustic. The semiotic analysis is used in the article as the methodology to observe visual and acoustic possibilities of the film language. The article also focuses on connection of literately forms with film language, how – poetry, essays, letters and diaries are connected with the cinema. In Manhatta (1921) by Charles Sheeler and Paul Strand, Walt Whitman’s poem of the same name is “written” in the film and helps to explore the city. Modern example in cinema of writing poetry on the screen and also embodying it in all forms, visual or audio is - Paterson (2016) by Jim Jarmusch. Comparative study of the films from different parts of the world helps to describe a modern city in a film, as a modern audiovisual text, on the edge of reality and imagination, with new possibilities, experiments of form, and carrying the problems of wandering and lost characters in it. On the example of the chosen films, the article reflects on different images of cities, how they are becoming main characters and cinematic texts - from Kutaisi to Hong Kong.
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Cahyani, Tinuk Dwi, Muhamad Helmi Md. Said, and Muhamad Sayuti Hassan. "Comparative Analysis of The Effectiveness of Punishment Over Corruption in Indonesia and Hong Kong." Journal of Educational and Social Research 13, no. 5 (September 5, 2023): 328. http://dx.doi.org/10.36941/jesr-2023-0140.
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This research aims to compare the effectiveness of punishment imposed on corruption as a crime in Indonesia and Hong Kong. The normative method was employed by conducting library research in the process of data searching, where the authors read and studied the primary and secondary research data. The analysis result concludes that Law of the Republic of Indonesia Number 31 of 1999 on Corruption Eradication and Law Number 20 of 2001 on the Amendment to Law Number 31 of 1999 on Corruption Eradication and Law Number 30 of 2002 on Corruption Eradication Commission deal with corruption crimes. Moreover, Indonesia establishes an official body particularly intended to deal with corruption investigations, the Corruption Eradication Commission (henceforth referred to as KPK). In comparison, Hong Kong also governs corruption cases using the Independent Commission Against Corruption Ordinance, Prevention of Bribery Ordinance, and the Elections (Corrupt and Illegal Conduct) Ordinance. Further, Hong Kong has Independent Commission Against Corruption (ICAC) as an institution fully authorized to investigate corruption cases. The KPK and ICAC share a similar strategic model but employ different ways of execution. From the effectiveness of the law perspective, Hong Kong seems to demonstrate a more effective approach since the real and deterring sentence is directly imposed on the case to encourage others to think twice before committing corruption. The sentencing in Hong Kong was once lambasted and condemned since it was perceived as violating human rights, but it seems to be the only way for Hong Kong to eradicate corruption effectively. This research recommends that another amendment to Law Number 20 of 2001 on Corruption Eradication.
Received: 4 February 2023 / Accepted: 15 July 2023 / Published: 5 September 2023
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Smith, Graham. "THE TRIPARTITE POLICE COMPLAINTS SYSTEM OF HONG KONG." ASIA-PACIFIC JOURNAL ON HUMAN RIGHTS AND THE LAW 15, no. 1-2 (April 6, 2014): 119–45. http://dx.doi.org/10.1163/15718158-15010206.
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Practitioners define the police complaints system of Hong Kong as a two-tier system. In this article, written at the request of the organisers of a 2014 Symposium, the international reform trend and purposes of police complaints systems are briefly outlined before examination of the Hong Kong system. A different conceptualisation is suggested to the one currently preferred by practitioners. It is observed that three organisations – the Independent Commission Against Corruption, the Complaints Against Police Office of the Hong Kong Police Force, and the Independent Police Complaints Council – share responsibility for handling complaints against the police. It is proposed that a full and comprehensive audit of the powers, duties and responsibilities of the three organisations that comprise this tripartite system, supported by research on the experiences of complainants, would provide an important evidence base for developing the system.
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Michael, Bryane. "Making Hong Kong companies liable for foreign corruption." Journal of Financial Crime 22, no. 1 (January 5, 2015): 126–50. http://dx.doi.org/10.1108/jfc-01-2014-0002.
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Purpose – The purpose of this article is to assess the extent to which Hong Kong’s laws deter its companies from engaging in corruption and bribery abroad. Design/methodology/approach – A mix of economics, public administration, management and legal analysis was used to assess weaknesses in Hong Kong’s laws governing the prohibition of bribe payments abroad. Findings – Hong Kong does not explicitly criminalise corporate bribery abroad. Companies – as legal persons – can not be found guilty of corruption. It is argued that Hong Kong’s Legislative Council should amend various laws to modernise Hong Kong’s approach to tackling corruption committed by its companies abroad. The various approaches lawmakers can take towards assigning responsibility for corruption to companies are presented. The approaches that prosecutors at the Department of Justice can take to adopt prosecutorial methods like those used in other upper-income jurisdictions and the ways that Independent Commission Against Corruption (ICAC) can assist in this work are also described. Practical implications – This research has practical findings for Hong Kong’s policymakers, law firms and companies which operate in Hong Kong. For policymakers, we describe legal changes Hong Kong’s legislators will likely make in the years ahead and the preferred ways of engaging in such change. For law firms, we describe the legal changes coming to Hong Kong which legal advisors will need to advise their clients on. For companies, we describe changes that companies operating in Hong Kong will likely need to comply with in the future. Social implications – This paper shows that when Hong Kong adopts best practice in the field of corporate criminalisation, Hong Kong’s role in “exporting” corruption will likely fall. Originality/value – This article describes a set of legal changes which will change the way Hong Kong treats corruption. The literature tends to glamorise Hong Kong’s anti-corruption work. It is shown that its law falls far behind other jurisdictions, as well as how “treating companies like people” in the case of Hong Kong will likely change the way Hong Kong’s prosecutors think about crime and criminal perpetrators.
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Sia, Tiffany. "Handbook of Feelings." October, no. 180 (2022): 137–49. http://dx.doi.org/10.1162/octo_a_00460.
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Abstract Hong Kong's National Security Law was passed on June 30, 2020, followed by a film-censorship amendment on October 27, 2021. While the public experienced the ensuing censorship as an absence and an occlusion of works, the mechanisms of censorship are opaque and bureaucratic, made effective through myriad methods. This article focuses on a first-person telling that weaves personal conversations, rumors, and everyday experiences in the new normal to analyze the evolving codes and reveal the trip wires that threaten the creation and presentation of films, artworks, and print materials in Hong Kong. Artists and filmmakers face a developing shadow bureaucracy, which they are only slowly coming to understand. Tracing the visible and invisible red lines through a group of mostly anonymized artists and practitioners—except for the author or those cited in the news—this essay confronts the haunting power of newly passed national-security laws to atomize fear, threaten some more than others, and generally to produce paranoia.
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Lin, Yang. "E-commerce and Online Dispute Resolution in Hong Kong." Amicus Curiae 4, no. 3 (June 24, 2023): 542–51. http://dx.doi.org/10.14296/ac.v4i3.5615.
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This article critically examines the development of online dispute resolution (ODR) in Hong Kong, focusing on the Electronic Business Related Arbitration and Mediation System International Online Dispute Resolution Centre Limited (eBRAM). As an independent, not-for-profit organization, eBRAM offers a platform for resolving disputes among micro, small and medium-sized enterprises (MSMEs). The article explores eBRAM’s potential impact on local MSMEs and legal professionals, Hong Kong’s position as an international business hub, and its complementarity with existing dispute resolution providers.
Keywords: ODR; eBram; LawTech; Hong Kong.
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Tang, James T. H. "From Empire Defence to Imperial Retreat: Britain's Postwar China Policy and the Decolonization of Hong Kong." Modern Asian Studies 28, no. 2 (May 1994): 317–37. http://dx.doi.org/10.1017/s0026749x00012427.
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Attempts to examine Hong Kong as an issue in British postwar colonial policy often emphasize the unique nature of the colony, and therefore a special case in British decolonization. Hong Kong has been regarded as an unconventional colonial entity, an anachronism in the modern world. But others argue that the word colony is not an appropriate term to describe it, except in the most severely technical legal sense, because of its spectacular industrial and economic development since the end of the Second World War. Nonetheless, Hong Kong has existed as a British crown colony since 1842, and its colonial political structures have remained more or less the same until the early 1980s. Hong Kong's special relations with China is an important factor making it an oddity in post-war British decolonization. Instead of becoming independent like most other British colonialterritories, Hong Kong's political future is linked to China. This situation of ‘decolonization without independence’ has been an important theme of academic analysis on the colony's political development.
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Summers, Tim. "The Hong Kong Special Administrative Region at 20." Asian Education and Development Studies 7, no. 1 (January 2, 2018): 89–101. http://dx.doi.org/10.1108/aeds-07-2017-0069.
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Purpose The purpose of this paper is to examine the two decades since Hong Kong’s return to Chinese sovereignty, assessing developments against the 1984 Sino-British Joint Declaration, the international agreement under which Hong Kong was transferred from British to Chinese sovereignty on July 1, 1997, and which first set out China’s “basic policies” toward Hong Kong. Design/methodology/approach The paper’s analysis of developments focuses particularly on areas of controversy, from the extent to which Hong Kong has enjoyed a “high degree of autonomy” to basic rights and freedoms and the legal and judicial systems. Findings It argues that on the whole, the policies set out in the Joint Declaration have been well implemented: Hong Kong has retained its separate systems since 1997, including rule of law and an independent judiciary, basic rights and freedoms, and separate government and social systems. However, especially since the “occupy” movement of 2014, questions about the sustainability of the “one country, two systems” arrangement have come to the surface. Originality/value The paper is distinctive in its assessment of developments against the 1984 Sino-British Joint Declaration.
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Yung, Faye Dorcas. "The Silencing of Children's Literature Publishing in Hong Kong." International Research in Children's Literature 13, Supplement (July 2020): 159–74. http://dx.doi.org/10.3366/ircl.2020.0344.
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Children's literature publishing in Hong Kong is supposed to enjoy the freedom of a free market economy and legal autonomy. However, the market structure and the titles available in the market dominated by imported titles reveal that children's books published in Hong Kong have little room to feature the local voice. The market conditions are tough and publishers are incentivised to publish for the larger Sinosphere market. As a result, Cantonese is absent in imported texts annotated with either Mandarin phonetics ruby characters in Hanyu Pinyin or Zhuyin symbols. Non-fiction picturebooks feature a version of history that is biased towards the Chinese Communist Party political rhetoric. Hong Kong subjectivity thus struggles to find space to be represented; usually it is found in publications by smaller independent publishers.
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Millichap, John. "Independent art publishing in China." Art Libraries Journal 39, no. 2 (2014): 14–19. http://dx.doi.org/10.1017/s0307472200018265.
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China’s publishing landscape today remains a harsh environment, dominated by the state industry and hostile to outside intruders. A few small independent art publishers, design studios and self-publishing artists have appeared in recent years in Beijing, Hong Kong, Shanghai, Guangzhou and other cities, a series of developments that signal new directions for the future of art publishing in this country.
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Cheng, Thomas K. "A Tale of Two Competition Law Regimes — The Telecom-Sector Competition Regulation in Hong Kong and Singapore." World Competition 30, Issue 3 (September 1, 2007): 501–26. http://dx.doi.org/10.54648/woco2007031.
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Competition law has seen very active development in Asia in recent years. Ironically, Hong Kong and Singapore, as two of the freest and most competitive economies in the region, long held a sceptical attitude towards competition law. Singapore enacted its first cross-sector competition law in 2004, some say only due to American pressure. For years, the Hong Kong government defended its sectoral model and insisted that the city had no need for a cross-sector competition law. However, that obstinate attitude shifted in March 2007, when the government announced that Hong Kong would follow Singapore’s footsteps. Until the new law is passed, however, telecommunications remain one of the two sectors in both economies that are subject to active competition law enforcement. The telecom-sector regimes hence may provide useful examples for the new general competition regulator in Singapore, and for Hong Kong as it drafts its new cross-sector law. These telecom-sector regimes also carry independent significance. They are part of the two governments’ effort to liberalize their respective telecom sectors. This article evaluates these two regimes in light of their avowed objective of facilitating liberalization, and draws lessons from their experience to shed light on Hong Kong’s effort to adopt a cross-sector competition law.
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Sinulingga, Manguni WD, and Jelly Leviza. "Perbandingan hukum perampasan aset hasil tindak pidana korupsi di Indonesia, Singapura Dan Hongkong." Jurnal Normatif 3, no. 2 (December 31, 2023): 329–35. http://dx.doi.org/10.54123/jn.v3i2.319.
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Corruption in law is a chronic issue with corrosive effects. In Indonesia, there institutions involved in handling criminal acts of corruption; the prosecutor`s Office, the Police, and the Corruption Eradication Commission (KPK). However, corruption cases in Indonesia continue to increase and fluctuate in their eradication efforts. The KPK is the main institution tasked with combating corruption in Indonesia, but it is perceived as not yet maximizing the seizure of assets resulting from corrupt activities. Singapore has a reputation for being stringent in combating corruption, boasting a powerful anti-corruption institution known as the Corrupt Practices Investigation Bureau (CPIB), which holds authority to investigate and prosecute corruption cases without political intervention. Hong Kong has an Independent Commission Against Corruption (ICAC) that has significantly succeeded in eradicating corruption. A comparative study of laws regarding the confiscation of assets resulting from acts of corruption in Indonesia, Singapore, and Hong Kong is needed to identify similarities, differences, and to analyze the similarities and differences in asset seizure resulting from corruption between the Indonesian Corruption Eradication Commission and the Corrupt Practices Investigation Bureau Singapore, and the Independent Commission Against Corruption Hong Kong
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Lee, Vivian P. Y. "Between colony and nation: Decolonial visions in Hong Kong independent cinema." New Cinemas: Journal of Contemporary Film 11, no. 1 (March 1, 2013): 3–21. http://dx.doi.org/10.1386/ncin.11.1.3_1.
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Veg, Sebastian. "Anatomy of the ordinary: new perspectives in Hong Kong independent cinema." Journal of Chinese Cinemas 8, no. 1 (January 2, 2014): 73–92. http://dx.doi.org/10.1080/17508061.2013.875731.
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Rudowicz, Elisabeth, and Anna Hui. "Hong Kong Chinese People's View of Creativity." Gifted Education International 13, no. 2 (September 1998): 159–74. http://dx.doi.org/10.1177/026142949801300209.
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This study was aimed at attaining some sense of implicit concepts of creativity among Hong Kong Chinese across different populations of participants and finding out how these implicit concepts compare to explicit concepts grounded in Western culture and tradition. Three stages of investigation are reported. In the first stage, 370 persons at railway and subway stations were asked to give their views on creativity and nominate Hong Kong person(s) outstanding for creativity, They were also asked to provide some demographic data and rate themselves on the creativity scale. In the second stage, 34 persons nominated in the first stage as outstanding for creativity were given the same task as the general public. In the third stage, local academics working in the area of creativity were asked to assign the categories of answers generated in the first and second stages of the study into one of the creativity strands: process, product, person or press. It was found that some core parts of the implicit concepts of creativity were overlapped highly across sex, age, education and occupational status variables. In other parts of the concept, how-ever, differences were found between males and females, teachers and laypersons, persons with tertiary education and other groups. Points of agreement between the implicit concepts of Hong Kong Chinese and explicit ones in the Western literature of creativity were these which linked creativity with something new, unique, leading to change and based on the independent thinking initiated by internal power and energy. However, originality, self expression as well as aesthetic and artistic elements were almost invisible in the Hong Kong implicit concepts of creativity.
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Ellis, James W. "Hong Kong’s Elusive Identity: Searching in the Past, Present, and Future." Asian Culture and History 10, no. 2 (August 31, 2018): 90. http://dx.doi.org/10.5539/ach.v10n2p90.
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Hong Kong is adrift between its British colonial past and its upcoming political reunification with the ancestral Chinese motherland. Hong Kong has endured a prolonged identity crisis in recent years, as it struggles to reconcile conflicts between its transnational worldview and the cultural identity, or Chineseness, of its majority population. A growing wave of nostalgia for the colonial era has frustrated Beijing’s efforts to win the hearts and minds of Hongkongers. This essay analyzes how Hong Kong’s distinctive local character is reflected in several socio-cultural arenas: the heritage industry, filmmaking, efforts to preserve historic structures and intangible heritage, public education, and tourism. With reunification on the horizon, Hongkongers want to assert an independent cultural identity but still seem to exist at the “intersection of different spaces”.
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Geng, Shuyue. "The Influencing Factors on Profitability of Hong Kong Airport." Learning & Education 10, no. 7 (June 7, 2022): 201. http://dx.doi.org/10.18282/l-e.v10i7.3011.
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Hong Kong is an internationally renowned tourist city, so exploring profitability of the airport is also of great significance
for effectively developing the economy of Hong Kong. This paper collects relevant influencing factors and profit. To avoid nonlinear
correlation and higher independent coefficient, logarithmic and factor analysis are used. So the variables are divided into factor1
includes most variables and factor2 includes aircraft movements for specific purpose. A regression model is established for the
two factors. It can be seen from the model that the all variables selected in the paper have a positive impact on airport profitability.
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Nalla, Zarina. "Bertrand de Speville, Overcoming Corruption: The Essentials." ICR Journal 2, no. 3 (April 15, 2011): 579–82. http://dx.doi.org/10.52282/icr.v2i3.641.
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The title of the book is very reflective of its length and style: brief and succinct almost like a handbook, it is meant for anticorruption decision-makers from the developed and developing world who are too busy to read laborious pieces on the subject.
The author, an English law barrister who went to Hong Kong in 1981, became Solicitor General prior to his appointment as Commissioner of the Independent Commission Against Corruption (ICAC) of Hong Kong from 1992 to 1996, just before the city was returned to China. He turned ICAC into a leading anti-graft body admired by international observers.
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Winaryati, Eny, Dodi Mulyadi, Eko Andy Purnomo, Endang Tri Wahyuni Maharani, Faqih Sulthan, and Yusrin Yusrin. "Pelatihan Batik “Gesek Godhong”: Upaya Kemandirian Usaha bagi Anggota PCIA Hongkong." Jurnal Surya Masyarakat 6, no. 2 (May 31, 2024): 263. http://dx.doi.org/10.26714/jsm.6.2.2024.263-268.
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The Leadership the Aisyiyah Special Branch of Hong Kong, is an Aisyiyah association in Hong Kong. This Community Service Activity is driven by the desire of migrant workers to be more adequately prepared for their post-employment period. The hope is that Indonesian Migrant Workers (PMI) can be independent when they leave PMI and return to Indonesia with the soft skills of making Gesek Godhong. The choice of “Gesek Godhong” training is because the materials for making “Gesek Godhong” are easy to obtain and available in nature The creation of “Gesek Godhong” batik is a skill in producing environmentally friendly batik artwork. It can be made easily yet results in art pieces with high market value. The synergy between the Service Team from the Faculty of Education and Humanities (FIPH) at Universitas Muhammadiyah Semarang and PCIA Hong Kong is hoped to continue sustainably, providing a positive impact especially for migrant workers in Hong Kong. The survey results show that the “Gesek Godhong” batik training was highly effective and well-received, providing participants with the skills and knowledge to create environmentally friendly and high-value batik artwork. The hope for the future is that this training can be conducted after the migrant workers return to Indonesia.
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Arifin, Ridwan, Rodiyah Rodiyah, and Fitria Puspita. "A Comparative Analysis of Indonesia’s KPK and Hong Kong ICAC in Eradicating Corruption." Jambe Law Journal 2, no. 2 (January 28, 2020): 163–79. http://dx.doi.org/10.22437/jlj.2.2.163-179.
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This article seeks to discusses anti-corruption policies in Indonesia and Hong Kong. This research arises from the phenomenon of corruption that has become widespread in Indonesia and seems to be a never-endingproblem that has caused great damage in all sectors of life. It's not only a matter of how much the state loss or corrupt modus operandi that is even more sophisticated and even makes Indonesia one of the highest-rankingcountries in corruption cases, but it is also a matter of law enforcement whihch is less smart in handling corruption cases themselves. On the other hand, reportedly having a different approach in combating corruption, Hong Kong is considered to have been successful in carrying out its duties. With comparative study, this article will elaborate various patterns of work conducted by anti-corruption institutions in Indonesia and Hong Kong, namely the Corruption Eradication Commission (KPK) and the Independent Commission Against Corruption (ICAC).
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Kim, Tae-Yeol, Todd J. Weber, Kwok Leung, and Yukiko Muramoto. "Perceived Fairness of Pay: The Importance of Task versus Maintenance Inputs in Japan, South Korea, and Hong Kong." Management and Organization Review 6, no. 1 (March 2010): 31–54. http://dx.doi.org/10.1111/j.1740-8784.2009.00173.x.
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AbstractThis study compares East Asians' evaluations of task and maintenance inputs in reward allocation decisions and examines the effects that inequity in various types of inputs and rewards have on fairness judgements. Based on a sample of 587 employees from various organizations in Hong Kong, Japan, and South Korea, we find that Hong Kong Chinese and South Korean employees are more likely to want their organizations and supervisors to emphasize maintenance inputs, while Japanese employees value task inputs in reward allocation. Results also show that there are significant country differences in fairness judgements associated with various types of inputs. For example, the positive relationship between pay level and perceived fairness of pay is significantly stronger when task contributions are high rather than low among Japanese employees but not among Hong Kong and South Korean employees. The concept of independent self-construal (similar to individualism at the societal level) seems to provide an adequate account of the country differences in choice of input preferences but not fairness judgements.
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Li, Li, and T. Wing Lo. "Mainlandization, the ICAC, and the Seriousness Attached by Local Politicians to Corruption in Post-1997 Hong Kong." International Journal of Offender Therapy and Comparative Criminology 62, no. 6 (January 11, 2017): 1742–60. http://dx.doi.org/10.1177/0306624x16686570.
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To date, few studies have focused on how the public has perceived the effectiveness of the Independent Commission Against Corruption (ICAC). Furthermore, little is known about how the public has assessed the functions of the ICAC during the political-economic convergence between Hong Kong and mainland China since 1997. This study attempts to explore local politicians’ perceptions towards the ICAC in post-1997 Hong Kong. The quantitative data show that the important historical juncture of mainlandization has been politicized in Hong Kong and has deeply influenced the seriousness attached by local politicians to corruption. Moreover, a mediating path of the effect of “Conflict of Interest” on the “Perceived Seriousness of Corruption” has been found, that is, mainlandization is found to have brought about increased levels of conflict of interest among government officials, which has weakened the symbolic anti-corruption function of the ICAC and, in turn, has affected the perceived seriousness attached to corruption.