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Journal articles on the topic 'Movies – Hong Kong'

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Author: Grafiati

Published: 27 July 2024

Last updated: 29 July 2024

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1

Zhu, Xuehan, and Sooyeoun Sohn. "A Study of Hong Kong Movies Cultural Identity: Focus on Movies The Actress and The Golden Era." Korean Society of Culture and Convergence 44, no. 11 (November 30, 2022): 639–53. http://dx.doi.org/10.33645/cnc.2022.11.44.11.639.

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2022 is the 25th year of Hong Kong's return to China; the return implies that Hong Kong has transferred from colonial history to the new political environment of “one country, two systems.” Meanwhile, Hong Kong's cultural identity would be sharply reconstructed after the return. This study is based on movies and aims to understand whether the change in cultural identity is reflected in the culture and arts areas. Specifically, this paper compares two Hong Kong movies, “The Actress” and “The Golden Era.” The reason is that those two movies have similar background contexts, but they are produced in different periods (i.e., before and after Hong Kong’s return). This paper has the following findings: there have been great changes in the film industry, cultural identity and movie style. Overall, this study shed light on how the political environment changes affect the culture and arts field; moreover, our findings broaden the understanding of the Chinese and Hong Kong movie industries.

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2

Wang, Kai, and Nan Li. "ANALYSIS OF HONG KONG ZOMBIE MOVIES AUDIOVISUAL LANGUAGE IN THE 1980S." International Journal of Law, Government and Communication 7, no. 29 (September 1, 2022): 18–26. http://dx.doi.org/10.35631/ijlgc.729002.

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As a subcultural type of genre film, Hong Kong zombie films play an important role in Hong Kong films. Hong Kong zombie films through visual languages such as color, light, lens, and auditory language such as language, music, and audio create a horror atmosphere and infect the emotions of the audience. The use of audiovisual language also implies the ideological representation of the collision between China and the West in Hong Kong in the 1980s.

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3

Xin Yi, Wong, Mansour Amini, and Maryam Alipour. "Genre and Translation Style in Chinese Translation of Hollywood Blockbuster Movie Titles in Mainland China and Hong Kong." Journal of Modern Languages 33, no. 2 (December 16, 2023): 120–43. http://dx.doi.org/10.22452/jml.vol33no2.7.

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The title of a movie is the first to attract the audience's attention. Poorly translated movie titles may result in a “low box office”, as translators in different countries have their styles and preferences in translating film titles, which might eventually result in different translations of the same movie title and cause confusion to the audience. This qualitative research used exploratory induction to investigate the influence of genre and translation style on the Chinese translation of Hollywood blockbuster movie titles in Mainland China and Hong Kong. Titles of 300 Chinese movies produced between 2001 and 2020 were purposefully selected from the top 50 Hollywood movies in the adventure, horror, and action genres. Genre was found to be slightly effective in the choice of translation style and strategies. Among the three genres, horror was found to have the greatest influence on the choice of translation strategy. It was concluded that translators from Mainland China were more conservative in title translation compared to translators from Hong Kong, whose attempt was to create innovative translations. The findings may have some theoretical and practical implications for film translators, book translators, advertising translators, translation trainers, and trainees.

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4

Bren, Frank. "Connections and Crossovers: Cinema and Theatre in Hong Kong." New Theatre Quarterly 14, no. 53 (February 1998): 63–74. http://dx.doi.org/10.1017/s0266464x0001174x.

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From the run-up to its return to Chinese rule in July 1997 to the stock-market crash in October, Hong Kong has seldom been out of the news during the past year. But the attention paid to its political and economic provenance has not been matched by much interest in its cultural output – despite the existence in Hong Kong of a cinema industry with a prodigious output now approaching ten thousand films. Although a professional theatre has been a relatively more recent development, the connections between film and theatre in Hong Kong have always been close – from the film adaptations of Cantonese opera in the 1930s, through the ‘female’ films of the post-war period and the western following for Bruce Lee's kung fu movies, to the present dominance of the cross-generic production company, Springtime, in the 1990s, with a creative interest in its own past which verges on the metatheatrical. Frank Bren, who is presently living and working in Hong Kong, here captures something of the history and the distinctive flavour of the overlapping movie and theatre industries, and assesses why the relationship remains mutually profitable in artistic as well as economic terms.

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5

Ma, Jiaxue. "Analysis of the Cultural Causes of Undercover Images in Hong Kong Action Movies after the New Wave Movement." Communications in Humanities Research 16, no. 1 (November 28, 2023): 163–68. http://dx.doi.org/10.54254/2753-7064/16/20230596.

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In the 1980s, the New Wave Movement opened up new space for Hong Kong cinema, providing opportunities for innovation and transformation of action films. Diversified action movies and characters tend to appear at this time. As a type of character with highly localized characteristics in Hong Kong, the complexity of undercover images helps people examine society from different perspectives. This paper reviews the development of undercover films in Hong Kong by selecting representative undercover films, and reveals that undercover is actually a reflection of the collective situation of social identity. Based on the concept of marginalized individuals, this paper finds through literature analysis and case analysis that the diverse types of undercover identities that emerged after the New Wave Movement not only reflect the survival dilemma of undercover agents themselves but also a true portrayal of the identity recognitions dilemma among Hong Kong people in the rapidly changing political and social trends.

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6

Ho, S. Y., M. P. Wang, H. K. Lai, A. J. Hedley, and T. H. Lam. "'Carcinogens in a puff': smoking in Hong Kong movies." Tobacco Control 19, no. 6 (September 18, 2010): 518–19. http://dx.doi.org/10.1136/tc.2010.037879.

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7

Chen, Chapman. "On the Hong Kong Chinese Subtitling of English Swearwords." Meta 49, no. 1 (September 13, 2004): 135–47. http://dx.doi.org/10.7202/009029ar.

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Abstract The objectives of this article are to illustrate how American English swearwords are under-translated in Hong Kong; to explain why English swearwords are inadequately translated in Hong Kong in terms of patronage, illocutionary strategies, and socio-linguistics; to advocate the adoption of Cantonese dynamic equivalents in subtitling English-speaking movies, in particular, American swearwords; to suggest Cantonese dynamic equivalents for American swearwords in Chinese subtitling; and to emphasize the need to pay attention to linguistic, psychosexual, and religious differences between Chinese and Western cultures when subtitling American swearwords.

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8

Tieben, Hendrik. "Magic Carpet. Re-envisioning Community Space in Hong Kong." Journal of Public Space 1, no. 1 (October 18, 2016): 151. http://dx.doi.org/10.5204/jps.v1i1.17.

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Magic Carpet was launched in 2013 by Hendrik Tieben of the School of Architecture and Anthony Fung of the School of Journalism and Communication at The Chinese University of Hong Kong, as an outreach program combining documentation of daily life, community engagement and urban design. The project was first held in Sai Ying Pun in 2013 and was subsequently brought to Tin Shui Wai (2014) and To Kwa Wan (2016).<br /> Magic Carpet transforms a public space into an outdoor cinema in which movies about the neighbourhood are shown. The movies are produced by local secondary school students, following a series of workshops that prepare them to conduct video-interviews with the community.<br />At Magic Carpet, community members and the general public interact with each other, building a stronger bond between themselves while empowering them to re-envision the possibilities of public space together.

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9

Chan, Titta. "Study on Film-Making & Lens Design Fundamentals for Hong Kong Movies under Ethnographic Research." Advances in Education, Humanities and Social Science Research 5, no. 1 (May 12, 2023): 316. http://dx.doi.org/10.56028/aehssr.5.1.316.2023.

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In the context of Hong Kong movies, discussion about the contemporary significance of directors and their works would not be separated from the deep description of "mainland people" in the film. The film uses collages and realistic narrative techniques of various ways of expression to unrealize reality, and shows a contemporary China that is both strange and realistic from the perspective of "mainland people". This paper introduces the concept of "deep description" in ethnography research, looks for details from different film texts of Hong Kong directors in different periods, analyzes the modern landscape and era fables displayed in the film, and attempts to summarize the philosophical significance behind the details of the narrative based on combing the narrative content of the film with the help of metaphor theory.

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10

Jacka, Liz. "The Film Industry in Australia: Trends in the Eighties." Media Information Australia 42, no. 1 (November 1986): 17–21. http://dx.doi.org/10.1177/1329878x8604200103.

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In this companion to Thomas Guback's paper on the American film industry I survey the changes in the film industry in Australia. One could as well say, echoing his title, the American film industry in Australia because the cinema trade here is still dominated by Hollywood. To illustrate this, in 1980 there were 223 movies from the US registered in Australia and only 20 from Australia.1 Although 827 films in total were registered that year (including 176 from Hong Kong), the vast majority of these films received no major theatrical release. Movies emanating from the traditional American-owned sources continue to dominate the major city cinemas.

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11

趙, 殷尚. "A Study of Triad Societies and Triad culture on the Hong Kong Movies." Journal of Local History and Culture 14, no. 1 (May 31, 2011): 441. http://dx.doi.org/10.17068/lhc.2011.05.14.1.441.

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12

Leung, Louis, and Jeanie Yuk Wai Lau. "Portrayal of Mainland Chinese People in Hong Kong-Produced Movies: Implications for 1997." Media Asia 21, no. 2 (January 1994): 107–13. http://dx.doi.org/10.1080/01296612.1994.11727114.

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13

Cui, Tingting. "The Construction of Female Identity in Chinese Biographical Film Anita Through the Lens of Male Gaze." Asian Journal of Social Science Studies 7, no. 8 (August 28, 2022): 54. http://dx.doi.org/10.20849/ajsss.v7i8.1269.

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Anita 《梅艳芳》 is a biopic newly released in 2021, chronicling her journey from a child performer to one of most recognized music idols in China and Southeast Asia. Mui began her singing career as a little girl, giving shows at an amusement park. Known as “Asian Madonna”, she kicked off her career by winning a singing contest in Hong Kong in 1982. Meanwhile, Mui also gained fame as an actress. She starred in more than 40 movies over 20 years, winning Taiwan’s Golden Horse award for best actress in 1987 for her role as a tormented ghost in the movie “Rouge.” She was also known for her charity work, setting up the Anita Mui Charity Foundation in 1990s.

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14

Cahill, Suzanne. "What to Fear and How to Protect Yourself: Daoism and Hong Kong Horror Movies." Journal of Daoist Studies 4, no. 1 (2011): 202–18. http://dx.doi.org/10.1353/dao.2011.0010.

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15

Howse, Joseph, and Carolan McLarney. "The Big Pictures: Sources of National Competitiveness in the Global Movie Industry." Vikalpa: The Journal for Decision Makers 31, no. 3 (July 2006): 19–44. http://dx.doi.org/10.1177/0256090920060303.

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This paper examines the global film industry through a detailed discussion of four national players (US, Canada, China, and Hong Kong). According to Porter, the international competitiveness of any industry cluster is shaped by four characteristics of the domestic market: demand conditions, factor endowments, firm rivalry, and supporting industries. The authors assess the film industry in these countries in terms of the four factors of national competitiveness and conclude that only the US possesses all of them at this juncture. Moreover, they propose that the exclusivity of US interests in the global distribution system creates competitive dynamics that neither Porter nor critics such as Rugman have fully explored. It is in this context that this paper discusses co-production as an alternative means for nations to develop⁄improve competitiveness through exploitation of overseas markets. Based on their analysis of the film industry of the US, Canada, China, and Hong Kong, the authors make the following observations: There is a need to increase the presence of Canada⁄Canadian film co-productions with other countries as there may be greater opportunities for large Canadian producers to leverage both their US connections and their home country's treaties to create a unique pool of film-making resources. The potential size of the Chinese film audience makes it attractive to other nations. However, the Chinese government's monopoly over film imports, pirated home versions, and denial of access to the official film distribution channels are major barriers to entry. Despite the massive historical price gap between domestic and foreign movies, box office figures would suggest that Chinese audiences prefer the latter. Another popular option is cheap, pirated home versions. Hong Kong's box office size, domestic box office share, and number of domestic productions have been decimated over the past decade and, hence, Hong Kong producers' main option is to find stronger opportunities in mainland China. Being the only external co-production partner nation of China and Hong Kong, Canada has in place the foundations for a powerful competitive position in these regions relative to other foreign entrants. According to the authors, further research in this field could include an analysis of coproductions within Europe or of emerging co-production blocs across other regions. For instance, Canada is currently in the process of concluding a co-production treaty with India which has the potential to clear barriers between the two powerful yet traditionally quite segregated film industries of the subcontinent and North America. This is indicative of the fact that the governments and the movie industries are gaining power to change the global competitive scenario in films.

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16

ZOU, Bo, and Wenyu YANG. "A study on the Hong Kong movies Why Not Return: About the newly discovered brochures." Nihon Gakkan 23 (June 8, 2020): 13–28. http://dx.doi.org/10.32319/gakkan/2020/vol23/zou_yang.

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17

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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18

Willnat, Lars, Zhou He, and Hao Xiaoming. "Foreign Media Exposure and Perceptions of Americans in Hong Kong, Shenzhen, and Singapore." Journalism & Mass Communication Quarterly 74, no. 4 (December 1997): 738–56. http://dx.doi.org/10.1177/107769909707400406.

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This study examines the relationship between foreign media exposure and stereotypical perceptions of and feelings toward Americans in Hong Kong, Shenzhen (China), and Singapore. In line with previous studies, it finds that foreign TV consumption is related to negative stereotypical perceptions of and feelings toward Americans among all tested subjects. However, it also finds that different types of foreign media, such as newspaper, radio, video, and movies, exhibit very distinct and different relationships with perceptions of Americans by subjects from China and Singapore. It suggests that in studies of foreign media impact, attention should be given to specific foreign media channels, the actual content of the media, the impact of local media, the stages at which other cultures encounter the Western culture, and the cultural context of each society.

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19

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

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

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20

Lee, Francis L. F. "Cultural Discount and Cross-Culture Predictability: Examining the Box Office Performance of American Movies in Hong Kong." Journal of Media Economics 19, no. 4 (October 2006): 259–78. http://dx.doi.org/10.1207/s15327736me1904_3.

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21

Lee, Francis L. F. "Audience Taste Divergence over Time: An Analysis of U.S. Movies' Box Office in Hong Kong, 1989–2004." Journalism & Mass Communication Quarterly 83, no. 4 (December 2006): 883–900. http://dx.doi.org/10.1177/107769900608300410.

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22

Ohtsuka, Keis, and Chi Chuen Chan. "Desperate Housewives: An Analysis of the Characterisations of Female Gamblers Portrayed in Gambling Movies in Hong Kong." International Journal of Mental Health and Addiction 7, no. 1 (October 7, 2008): 229–38. http://dx.doi.org/10.1007/s11469-008-9180-2.

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23

Fan, Qingyi. "The Research on the Role of Qipao on the Female Image Portrayals in the Hong Kong Movie in the Mood for Love." Communications in Humanities Research 4, no. 1 (May 17, 2023): 445–50. http://dx.doi.org/10.54254/2753-7064/4/20220660.

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Clothing can show the charm of the film and help shape the characters image. An appropriate garment can even express the character's ideas and feelings and highlight the artistic charm of the film. As one of the significant elements of Oriental dresses, qipao serves as an external expression of Chinese culture. The profound cultural heritage of cheongsam shows the unique aesthetics of Oriental art and has now become an essential cultural symbol in movies. The film In the Mood for Love allows qipao to significantly promote the development of the film plot and highlight the background of history. In the Mood for Love narrates love under a historical background partly through the character Sus body. Qipao is also used as a symbol of the female body throughout the film, remarks on the heroine's restrained morality and her deepest desire for love. Various qipaos in the movie show exquisite fabric design and profound cultural heritage the soul of In the Mood for Love. Qipao provides the film with a deep reflection of culture and a significant level of aesthetics.

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24

Hugh D. R. Baker. "A Dictionary of Cantonese Slang: The Language of Hong Kong Movies, Street Gangs and City Life (review)." China Review International 15, no. 1 (2008): 114–16. http://dx.doi.org/10.1353/cri.0.0133.

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25

Fong, Emily Tsz Yan. "Changing intergroup relations with Mainland Chinese: An analysis of changes in Hong Kong movies as a popular cultural discourse." Multilingua - Journal of Cross-Cultural and Interlanguage Communication 29, no. 1 (January 2010): 29–53. http://dx.doi.org/10.1515/mult.2010.002.

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26

Chan, Chi Chuen, and Keis Ohtsuka. "All for the Winner: An Analysis of the Characterization of Male Gamblers in Hong Kong Movies with Gambling Theme." International Journal of Mental Health and Addiction 9, no. 2 (April 17, 2010): 208–18. http://dx.doi.org/10.1007/s11469-010-9274-5.

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27

Xue, Yan, and Shen Shi. "Research on International Cultural Communication Carriers in China: Taking Hong Kong Film, Hangzhou Animation, and Online Novels as Examples." SHS Web of Conferences 174 (2023): 02027. http://dx.doi.org/10.1051/shsconf/202317402027.

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The report of the 20th National Congress of the Communist Party of China stated that “Extending the reach and appeal of Chinese civilization.” “We will deepen exchanges and mutual learning with other civilizations and better present Chinese culture to the world.” Xi Jinping emphasized during the 30th study session of the Po-litical Bureau of the Central Committee：”We must promote Chinese culture beyondour national borders, advocating common values, sharing our ideas, and increasing m-utual understanding.” Therefore, the question arises that “how to better promote Chinese culture going global”? Cultural communication as a medium for spreading culture is the basis of international cultural communication. Building a cultural carrier is crucial to promoting Chinese culture to the world, building a discourse system with Chinese characteristics, and developing international cultural communication theories. Furthermore, what characteristics should the cultural carrier have to better adapt tothe psychology of the audience and effectively carry out international cultural communication? This article studies from the perspective of social psychology and combinesthe theory of communication, and adopts the method of case study. Taking Chinese Hong Kong movies, Hangzhou animation and network novels as examples, analyze their characteristics of international cultural communication. Hope to summarize the enlightenment of the construction of international cultural communication carriers from the perspective of China. The conclusion is that Hangzhou animation is more suitable as the main cultural carrier to promote Chinese culture globally.

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28

Kim, Jin-Young, and Jae-Woong Kim. "China Film Market Entry Strategy for Success of Movies: A-Hong Kong Co-production, Focusing on the Experiences and Lessons Learned(1956-1982)." Journal of the Korea Contents Association 10, no. 11 (November 28, 2010): 136–45. http://dx.doi.org/10.5392/jkca.2010.10.11.136.

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29

Lung, Rachel. "On Mis-translating Sexually Suggestive Elements In English-Chinese Screen Subtitling." Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 2 (January 1, 1998): 97–109. http://dx.doi.org/10.1075/babel.44.2.02lun.

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Abstract English-speaking movies and television series are flourishing in Hong Kong, and Chinese screen subtitles are often provided to the audience. Studies relating to subtitling have often discussed reduction methods and reduction categories, but little work has touched on the areas of and reasons for under-translation. The author has observed that sexually suggestive information is often under-translated in English-Chinese subtitling. Some instances suggest that the under-translation is related to the translator's ignorance of English idiomatic usage, or the translator's insensitivity of the translation to the implicit information. Some other example indicates, however, that the translator is neither ignorant nor insensitive about the implied meaning. The translator has shown in the subtitling that he or she knows the implicit meaning, and that attempts were made to tone down the message a great deal, probably out of socio-psychological, cultural and euphemistic reasons. These observations based on video-taped examples have identified the existence of non-linguistic constraints in cross-linguistic and cross-cultural activities such as translation. Résumé Les films et les feuilletons de télévision parlant anglais ont énormément de succès à Hong Kong, et la plupart d'entre eux sont sous-titrés en chinois. Les études consacrées au sous-titrage parlent souvent de méthodes permettant de condenser le texte, ainsi que de catégories de réduction, mais on n'a jamais examiné le domaine de la sous-traduction ni les raisons de cette 'euphémisation'. L'auteur a remarqué que les informations suggestives sont souvent sous-traduites dans les sous-titrages anglais-chinois. D'aucuns suggèrent que la sous-traduction est liée à la méconnaissance du traducteur des expressions idiomatiques anglaises, ou qu'elle serait due à l'insensibilité du traducteur à l'égard de la traduction des informations implicites. D'autres exemples indiquent toutefois que le traducteur n'est ni ignorant ni insensible quant à la signification implicite. Des sous-titrages prouvent que le traducteur comprend la signification implicite mais qu'il s'est éfforcé d'atténuer grandement le message, et ce vraisemblablement pour des raisons socio-psychologiques, culturelles et d'euphémisme. Ces observations, basées sur des exemples enregistrés sur des cassettes vidéo, ont permis de constater l'existence de contraintes non linguistiques dans les activités de transfert linguistiques et culturelles que sont la traduction par exemple.

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30

Xingxing, Li. "When "Macbeth" Meets Chinese Opera: A Crossroad of Humanity." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 55–68. http://dx.doi.org/10.18778/2083-8530.21.04.

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As one of the four Shakespeare’s great tragedies, Macbeth, with its thrilling story line and profound exploration of human nature, has been adapted for plays and movies worldwide. Though Macbeth was introduced to China just before the May 4th Movement in 1919, its characters and plot have attracted the world in the past 100 years. Macbeth was firstly adapted into a folk play Theft of a Nation during the modern play period, to mock Yuan Shikai’s restoration of the monarchy, who was considered as a usurper of Qing dynasty, followed by Li Jianwu’s adaptation Wang Deming, Kun opera Bloody Hands, Taiwanese version of Beijing opera Lust and the City, Hong Kong version of Cantonese opera The Traitor, Macao version of small theater play If I were the King, Anhui opera Psycho, Shaoxing opera General Ma Long, Wu opera Bloody Sword, a monodrama of Sichuan opera Lady Macbeth, and an experimental Kun opera Lady. Therefore, this essay aims to comb the relations among various adaptations of Macbeth, to discover the advantages and disadvantages of different methodologies by examining the spiritual transformations of the main character Macbeth and reinvention of Lady Macbeth, and ultimately to observe acceptance of Chinese public, which might give thoughts to communications of overseas literature in China.

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31

Xingxing, Li. "When "Macbeth" Meets Chinese Opera: A Crossroad of Humanity." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 55–68. http://dx.doi.org/10.18778/2083-8530.21.04.

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As one of the four Shakespeare’s great tragedies, Macbeth, with its thrilling story line and profound exploration of human nature, has been adapted for plays and movies worldwide. Though Macbeth was introduced to China just before the May 4th Movement in 1919, its characters and plot have attracted the world in the past 100 years. Macbeth was firstly adapted into a folk play Theft of a Nation during the modern play period, to mock Yuan Shikai’s restoration of the monarchy, who was considered as a usurper of Qing dynasty, followed by Li Jianwu’s adaptation Wang Deming, Kun opera Bloody Hands, Taiwanese version of Beijing opera Lust and the City, Hong Kong version of Cantonese opera The Traitor, Macao version of small theater play If I were the King, Anhui opera Psycho, Shaoxing opera General Ma Long, Wu opera Bloody Sword, a monodrama of Sichuan opera Lady Macbeth, and an experimental Kun opera Lady. Therefore, this essay aims to comb the relations among various adaptations of Macbeth, to discover the advantages and disadvantages of different methodologies by examining the spiritual transformations of the main character Macbeth and reinvention of Lady Macbeth, and ultimately to observe acceptance of Chinese public, which might give thoughts to communications of overseas literature in China.

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32

Mega Putri, Ni Wayan Liana, and Dianiangriani Dilia. "Analyzing Social Media Strategy in Korean Music Industries." PERSPEKTIF 12, no. 4 (October 11, 2023): 1206–14. http://dx.doi.org/10.31289/perspektif.v12i4.10098.

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The Korean Wave (K-wave), also known as Hallyu, is the term used to describe the phenomenon of Korean pop culture, including TV dramas, movies, pop music, fashion, and online games, becoming widely popular and shared among the people of Japan, China, Hong Kong, Taiwan, and other Asian nations. Korean pop music, also known as K-pop, became a major component of the second K-wave after the first K-wave's drama-focused craze. Additionally, K-pop's fanbase has grown outside of Asia to the West thanks to the quick adoption of social media platforms like YouTube and Twitter. The popularity of K-pop throughout the world helps to improve the perception of "Korea" and has a positive effect on the Korean economy. According to reports, Korea has 1,000 active entertainment agencies in addition to the "big three" record labels and agencies: SM Entertainment, YG Entertainment, and JYP Entertainment. In this instance, we talk about the K-pop phenomenon's global appeal and how social media has contributed to the genre's recent boom. Our lessons on how to manage social media strategically, with a focus on the major agencies mentioned above, include: aligning your strategic business model with social media; maximizing different social media channels; enticing customers with on- and offline promotions; and stimulating audience with exclusive content.

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Lee, Donghyun. "Exploring Philosophical Dimensions in Wong Kar-wai's Filmography." Journal of Global Research in Education and Social Science 18, no. 3 (June 28, 2024): 16–22. http://dx.doi.org/10.56557/jogress/2024/v18i38753.

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The Auteur theory is a theory that says directors serve as the primary creative force behind films, shaping their narratives and imbuing them with their personal philosophies. This paper delves into the cinematic filmography of Wong Kar-wai, a renowned Hong Kong film director known for his exploration of philosophical themes within the context of Asian society. Through examinations of his films, this study investigates the subtle interplay between Wong’s directorial vision and the philosophical underpinning embedded within each film. Including themes that are controversial in Asian society in the past, such as Queer and marriage affairs, prevalent in Wong Kar-wai’s every work, this research explores the cultural and societal implications of these issues within the Asian community. Despite the evolution of the film industry, Wong’s commitment to infusing his films with thought-provoking philosophical perspectives remains evident, and his movies are absolutely fascinating and worth studying. By analyzing five different Wong Kar-wai films, Chungking Express, In the Mood for Love, Happy Together, Fallen Angels, and Days of Being Wild, through the lens of auteur theory, this study aims to explore the intricate relationship between the director’s ideology and the thematic elements present in his cinematic works. Furthermore, the author explored the cultural and societal issues and implications within the Asian community beyond Wong Kar-wai’s and found how the social and cultural situations have affected the film style of Wong Kar-wai in this research.

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杨, 婕. "The Mainstream Expression and Social Influence of Movies during the National Anti-Japanese War—Taking the 1937~1945 Guangdong and Hong Kong National Defense Film as an Example." Art Research Letters 12, no. 04 (2023): 382–87. http://dx.doi.org/10.12677/arl.2023.124063.

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Liu, Sida, Daniel Blocq, Ali Honari, and Anson Au. "Professional flows: Lateral moves of law firm partners in Hong Kong, 1994–2018." Journal of Professions and Organization 9, no. 1 (January 17, 2022): 1–19. http://dx.doi.org/10.1093/jpo/joac001.

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Abstract This article uses the case of law firms in Hong Kong to develop a processual approach for understanding lateral mobility in professional service firms. Based on the analysis of 1,461 lateral moves of law firm partners reported in 300 monthly issues of the official journal of the Law Society of Hong Kong during 1994–2018, as well as archival data and interviews conducted in Hong Kong, the article offers both a bird’s-eye view of the lateral mobility of partners across law firms of different jurisdictional origins and an in-depth investigation of how elite law firms in this market, namely the Magic Circle and Wall Street firms, are influenced by the dynamics of professional flows. Theoretically, the article reconceptualizes professional service firms as organizations connected by and transform through the flows of professionals between them, a dynamic process characterized by three key concepts: waves, cycles, and turning points. In addition to its theoretical contribution, the study has broader implications for understanding Hong Kong’s economic transformation since the 1990s, particularly after Hong Kong’s handover to China in 1997 and the global financial crisis in 2008.

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Shih, C. Y. "Significance of Hong Kong’s Perspective on China." China Report 54, no. 1 (January 25, 2018): 15–24. http://dx.doi.org/10.1177/0009445517744404.

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Hong Kong exemplifies a geo-cultural path that the literature on hybridity has not seriously considered. Hong Kong’s particular geo-cultural path is different from what the literature refers to as hybridity because Hong Kong’s identity encompasses non-synthetic, lingering Confucian, Christian, liberal, patriotic and other identities that exist parallel to each other, rather than merging into a certain hybrid identity. Because of this unique identity, the already hybrid identity of Hong Kong could disintegrate at any time because of re-imagined or re-enacted traditions. In other words, the coexisting parallel identities support a cyclical historiography rather than the celebrated postcoloniality that moves Hong Kong irrevocably away from any alleged past. Hong Kong demonstrates this constant re-appealing that takes place on the basis of solid traditions in Confucianism, Christianity and patriotism, in addition to the familiar liberalism and anti-Communism. Chineseness has become extremely difficult to define and attempts at doing so generate bitter feelings.

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BAUER, ROBERT S. "A Dictionary of Cantonese Slang: The Language of Hong Kong Movies, Street Gangs and City Life. By CHRISTOPHER HUTTON and KINGSLEY BOLTON. [London: Hurst & Company, 2005. xxiv + 489 pp. £45.00. ISBN 1-85065-419-0.]." China Quarterly 186 (June 2006): 508–10. http://dx.doi.org/10.1017/s0305741006440248.

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Ching, Frank. "Hong Kong and Taiwan Confront Rising Chinese Pressure." Current History 119, no. 818 (August 20, 2020): 234–40. http://dx.doi.org/10.1525/curh.2020.119.818.234.

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Under Xi Jinping, China has stepped up its efforts to strip Hong Kong of its autonomous status and stamp out dissent in the territory, culminating in its moves to impose a new national security law in 2020. At the same time, Beijing has ratcheted up its pressure on Taiwan, demanding that it agree to reunification with the mainland. Chinese pressures on both fronts have provoked local resistance. Taiwan may now become a haven for pro-democracy exiles from Hong Kong.

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Lin, Angel, and Avin Tong. "Constructing cultural Self and Other in the Internet discussion of a Korean historical TV drama." Media Discourse in Greater China 19, no. 2 (July 24, 2009): 289–312. http://dx.doi.org/10.1075/japc.19.2.03lin.

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In this paper messages from viewers of the popular Korean historical TV drama — Dae Jang Geum (Da Chang Jin) — in a Hong Kong web-based discussion forum are analyzed to see how some Hong Kong viewers construct their Chinese cultural identities through discursive moves of positioning (Harrè and van Langenhove, 1999). Different subject positions are adopted by these forum discussion participants to draw, maintain, and shift the boundary between “self” and “other” in different storylines projected in their messages. In asserting their Chinese cultural identities they also seem to be engaged in discursive construction of cultural others (e.g. Japanese, Koreans). We problematize these constructions as double-edged in their possible consequences: while they seem to cultivate a sense of Chinese cultural solidarity (albeit only temporarily), they also show the danger of constructing a hegemonic Sino-centric discourse of Great China culturalism. The cultural identification patterns of these Hong Kong viewers also seem to be unstable, ambivalent and contradictory, perhaps reflecting Hong Kong people’s general sense of ambivalence and fluidity in their negotiation of cultural identities.

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Chan, Pui-Lun. "Act Like Jackie Chan: The Cinematic Legacy of Jingju Training Schools in Hong Kong." TDR/The Drama Review 62, no. 2 (June 2018): 115–29. http://dx.doi.org/10.1162/dram_a_00751.

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The jingju (Peking Opera) training schools that developed in Hong Kong between the 1950s and the 1970s had an unanticipated impact on the martial arts movie industry. Jackie Chan and his cohort at the China Drama Academy made the move from trainees to movie actors, bringing their jingju skills to their film roles.

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Miners, N. J. "Plans for Constitutional Reform in Hong Kong, 1946—52." China Quarterly 107 (September 1986): 463–82. http://dx.doi.org/10.1017/s0305741000039862.

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Hong Kong has never taken the path of constitutional development towards democratic self-government followed by the rest of Great Britain's colonial empire. In 1984 the Legislative and Executive Councils were still composed entirely of officials and unofficials nominated by the Governor without a single elected member, just as they have been for the past 140 years. This anomalous position has commonly been justified in two ways: the official explanation is that there have been no demands for democratic institutions voiced by the people of Hong Kong; unofficially ministers and officials have claimed that the People's Republic of China objects to free elections and Britain has found it expedient to give heed to China's views. This has never been publicly and unambiguously admitted by any Minister of the Crown while in office to avoid diplomatic embarrassment, but a large number of comments and replies to parliamentary questions can be quoted which leave little doubt that this is in fact the case. It seems that the Chinese People's Government has always equated democratic constitutional advance in Hong Kong with moves to grant independence to the territory and so has imposed her veto on any changes which might preclude the future resumption of Chinese sovereignty. But now that Britain has formally declared her intention to restore the whole of Hong Kong to China in 1997 China has in turn declared that after 1997“The legislature of the Hong Kong Special Administrative Region shall be constituted by elections,” and is apparently prepared to waive her longstanding objections to democratic developments in the intervening 12 years before Hong Kong reverts to Chinese sovereignty.

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Dowson, Chris. "Continuing Education Reform in Hong Kong." education policy analysis archives 11 (February 6, 2003): 5. http://dx.doi.org/10.14507/epaa.v11n5.2003.

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Following initiations in educational reform that began in the 1990s, Hong Kong continues to experience considerable pressure for educational reform. On the surface many of these initiatives parallel reform policies/movements in Asia and indeed, globally. The success of any reform is dependent on how it is contextualised prior to and at implementation. In this article, an exploration is made into how reforms in four particular sareas, namely: professional development of principals, higher education, English language standards, and inclusion of students with learning difficulties have been conceived, contextualised and managed in Hong Kong, as it moves gradually toward increased adoption of education reforms. These areas are linked in that each describes and critiques contextualization with reference to areas such as accountability, co-operation and professional control.

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진성희. "A Frustration and Challenge of Hong Kong movie after 1997." Journal of the research of chinese novels ll, no. 36 (April 2012): 193–210. http://dx.doi.org/10.17004/jrcn.2012..36.009.

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Pierson-Smith, Anne. "English for promotional purposes." English Today 13, no. 3 (July 1997): 6–8. http://dx.doi.org/10.1017/s0266078400009731.

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CRYSTAL ball-gazing has become a favourite occupation in Hong Kong as the territory moves closer to the changeover of sovereignty on July 1, 1997. In a city where speculation fuels the money markets, second guessing about corporate futures is commonplace throughout the business community. The “what will happen in 1997?” question inevitably focuses on the post-colonial future of English in Hong Kong. English, the official language of government and commerce, is set to be replaced by Chinese as the primary language of administration according to the Basic Law, the territory's future constitution. This move has particular relevance for the territory's promotional industries, currently employing one per cent of the population in advertising and public relations (Vocational Training Council, 1996).

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Siu, Lok. "Hong Kong Movers and Stayers: Narratives of Family Migration." Contemporary Sociology: A Journal of Reviews 41, no. 3 (May 2012): 363–64. http://dx.doi.org/10.1177/0094306112443520ff.

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Gleason, Timothy R., Qi Tang, and Jean Giovanetti. "Wong Kar-Wai." Journal of Asian Pacific Communication 12, no. 2 (December 31, 2002): 291–310. http://dx.doi.org/10.1075/japc.12.2.06gle.

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Wong Kar-Wai is the premier auteur of Hong Kong cinema. This article analyzes his 1994 film, Chungking Express, using the auteur as structure approach. This approach emphasizes the influence of the director on a film. It can only be applied to films that were mainly controlled by the director and not the studio or production company. Using this approach requires researchers to find the signature of the director within the film. This research introduces the work of an internationally-acclaimed film director to communication scholars, and it deciphers a film inherently complex to interpret. The authors analysis reveals Wong utilizes a French New Wave style to represent his view of a Hong Kong undergoing social and political transformations. Wongs style is similar to French directors such as Truffaut and Godard because of his spontaneity and use of movement within the movie image. Even though Wong is influenced by the French New Wave, his films are also influenced by their physical and social environments. This is especially true in Chungking Express, with its crime urban surroundings, and constant references to expiration dates, the latter referring to Hong Kongs hand-over to China.

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Walls, W. David. "Increasing returns to information: evidence from the Hong Kong movie market." Applied Economics Letters 4, no. 5 (May 1997): 287–90. http://dx.doi.org/10.1080/758532594.

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Wong, Yiu Chung, and Jason K. H. Chan. "Civil disobedience movements in Hong Kong: a civil society perspective." Asian Education and Development Studies 6, no. 4 (October 2, 2017): 312–32. http://dx.doi.org/10.1108/aeds-11-2015-0056.

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Purpose The purpose of this paper is to explore the emergence of civil disobedience (CD) movements in Hong Kong in the context of the notion of civil society (CS). Design/methodology/approach The paper begins by rigorously defining the notion of CD, as well as the concept of CS and tracing its development in Hong Kong over the past several decades. By using a model of CS typology, which combines the variables of state control and a society’s quest for autonomy (SQA), the paper aims to outline the historical development of CD movements in Hong Kong. It also discusses the recent evolution of CS and its relationship with CD movements, particularly focusing on their development since Leung Chun-ying became the Chief Executive in 2012. Finally, by using five cases of CD witnessed in the past several decades, the relationship between the development of CS and the emergence of CD in Hong Kong has been outlined. Findings Four implications can be concluded: first, CD cannot emerge when the state and society are isolated. Second, the level of SC and the scale of CD are positively related. Third, as an historical trend, the development of SQA is generally in linear progress; SQA starts from a low level (e.g. interest-based and welfare-based aims) and moves upwards to campaign for higher goals of civil and political autonomy. If the lower level of SQA is not satisfied, it can lead to larger scale CD in future. Fourth, the CD movement would be largest in scale when the state-society relationship confrontational and when major cleavages can be found within CS itself. Originality/value This paper serves to enrich knowledge in the fields of politics and sociology.

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Rose, Kenneth R. "AN EXPLORATORY CROSS-SECTIONAL STUDY OF INTERLANGUAGE PRAGMATIC DEVELOPMENT." Studies in Second Language Acquisition 22, no. 1 (March 2000): 27–67. http://dx.doi.org/10.1017/s0272263100001029.

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This paper reports the results of an exploratory cross-sectional study of pragmatic development among three groups of primary school students in Hong Kong who completed a cartoon oral production task (COPT) designed to elicit requests, apologies, and compliment responses. The first two of these speech acts are among the most well represented in the pragmatics literature and are also included in the Hong Kong English language syllabus for primary schools. The latter has also been studied extensively but is not part of the syllabus. Data was collected in Cantonese using the same instrument. Although a number of developmental patterns are revealed—particularly in choice of request strategy, frequency of supportive moves, and use of adjuncts with apologies and compliment responses—there is little evidence of sensitivity to situational variation or pragmatic transfer from Cantonese. This study adds to the small, but growing, body of research on pragmatic development in a second language.

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LIU YU and 한상언. "A Study on the acceptance of the Korea-Hong Kong Collaboration movie,." Journal of East Aisan Cultures ll, no. 68 (February 2017): 157–86. http://dx.doi.org/10.16959/jeachy..68.201702.157.

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