Bibliographies thématiques / Hong Kong – Festivals

Littérature scientifique sur le sujet « Hong Kong – Festivals »

Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "Hong Kong – Festivals"

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

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Since they emerged in the late 1970s, queer film festivals have turned into a global cultural activity. A complex worldwide network of queer film festivals has also formed. This article establishes the framework of the global queer film festival circuit to examine the hegemonic relationships it produces. The global queer film festival circuit comprises top-tier film festivals and second-tier queer film festivals. As the first queer-themed film festival in Asia, the Hong Kong Lesbian and Gay Film Festival (HKLGFF) is situated in a subordinate and passive position. Aiming to emphasize the unbalanced relationship among queer film festivals on a global scale, this article argues that due to commercial considerations and the lack of festival resources, the HKLGFF’s programming is dominated by the choices of top-tier film festivals and thus reproduces Western-centrism. Through the analysis of the HKLGFF’s programming process and criteria, it also demonstrates how top-tier film festivals influence the programming of second-tier queer film festivals by dominating the global market of queer films. Overall, this article expands the concept of the queer film festival circuit, addressing the significance of small-scale queer film festivals in the global South to worldwide queer culture as well as the global circulation of queer films.
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WENZHEN, Minghua Liu, Xinyao Li et Qiyue Ren. « Rural Festivals and Rural Cultural Spaces Creation : A Case Study of the “Yim Tin Tsai Arts Festival” ». International Journal of Arts and Humanities Studies 3, no 4 (26 octobre 2023) : 10–17. http://dx.doi.org/10.32996/ijahs.2023.3.4.2.

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The “Yim Tin Tsai Arts Festival”, a three-year artistic program, represents a pioneering effort to revitalize rural areas using art as a catalyst. This initiative is designed to explore and address various social issues arising from urbanizing. While rural festivals, including the “Yim Tin Tsai Arts Festival”, play a pivotal role in promoting regional economic development through the creation of cultural spaces, they face the challenge of homogenizing their tourism destination image. This article applies design strategy concepts to explore the impact of rural festivals and cultural spaces on the cultural benefits of the host region, using the “Yim Tin Tsai Arts Festival” in Hong Kong as a case study. Utilizing methods such as desk research and data analysis, this study examines and discusses the significant issues within the field of research regarding the influence of rural festivals and cultural space development. Furthermore, we present the following research focus and development directions for the study of the impact of rural festivals and cultural space development.
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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 (1 octobre 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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Chan, Selina Ching. « Creepy No More ». Review of Religion and Chinese Society 6, no 2 (12 décembre 2019) : 273–96. http://dx.doi.org/10.1163/22143955-00602007.

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Ever since the classification of Hong Kong’s Chaozhou Hungry Ghosts Festival as a national-grade intangible cultural heritage in 2011, a series of conservation activities have been initiated by some local Chaozhou communities, ngos, and the Hong Kong government. One of these activities is the Chaozhou Hungry Ghosts Cultural Festival, and this paper discusses the heritagization of religious festivals by examining the invention of this festival. The Cultural Festival reveals how the elite-cum-businessmen attempt to educate the general public, to promote the festival so as to reverse its decline in popularity, and to celebrate ethnic culture and Chinese culture. To overwrite the old-fashioned stereotypical creepy images associated with the traditional Hungry Ghosts Festival, new programs featuring spectacular and fun elements have been invented. This paper delineates how these newly invented programs highlight and promote moral and cultural meanings and capture the attention of the general public, especially the younger generation, thereby attracting wider participation in the festival. I will discuss how the spectatorial, participatory, and educational aspects of the Cultural Festival are meant to attract domestic visitors as well as international tourists. Nevertheless, the majority of worshippers and local organizers do not have a significant role in the Cultural Festival.
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Ng, How Wee. « Boo Junfeng on funding, festivals and Chinese privilege ». Asian Cinema 31, no 1 (1 avril 2020) : 131–37. http://dx.doi.org/10.1386/ac_00018_7.

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The interview was motivated by an interest in exploring how Singapore film directors perceive the three major Chinese cinema awards, mainly the Golden Horse Awards (GHA), Hong Kong Film Awards (HKFA) and Golden Rooster Awards (GRA), and what they might signify for Singapore cinema, especially for a nation that is predominantly ethnic Chinese. Amongst the directors interviewed, Boo Junfeng went beyond to share his views on film education, funding and the implications of racial politics and ethnic privilege underlying the nomination for international film awards.
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Hwang, Soo-Young, et Sung-Hyuk Kim. « Differences in Perception of Evaluation Attributes between Local Residents and International Tourists in Clan Festival : A Case on a International Clan Gathering ». Tourism Sciences Society of Korea 39, no 4 (31 mai 2015) : 59–76. http://dx.doi.org/10.17086/jts.2015.39.4.59.76.

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International Local communities are increasingly exerting their efforts to attract many international tourists through events such as a clan event festival. There has yet to be development of a model that can be implemented to evaluate the distinct results of each international or local festival from the overall point of view of local residents and the international tourists that participate and enjoy the benefits of the festivals. Therefore, this study aims to identify the differences in perceptions of the attribute evaluation between local residents and international tourists participating in clan event festival. A total of 220 copies of the questionnaire are distributed to local residents and international tourists participating in the clan event festival, and 212(96%) were used as the data for the final mixed method approach. The results are international tourists(China, Hong Kong, Singapore, Taiwan, Republic of Korea and America) and local residents(Malaysia) had significantly differences in their perception of the evaluation attributes of the clan event festival.
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Sun, Yi. « Shaping Hong Kong cinema’s new icon : Milkyway Image at international film festivals ». Transnational Cinemas 6, no 1 (2 janvier 2015) : 67–83. http://dx.doi.org/10.1080/20403526.2014.1002671.

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

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

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Thirty years ago, the eminent sinologist James Watson published a paper in Anthropos on ‘common pot’ dining in the New Territories of Hong Kong, a banquet ritual that differs fundamentally from established social norms in Chinese society. We explore the recent career of the ‘common pot’ in neighbouring Shenzhen, where it has become an important symbol manifesting the strength and public role of local lineages in the rapidly growing mega-city. We present two cases, the Wen lineage and the Huang lineage. In case of the Wen, we show how the practice relates to their role as landholding groups, organized in a ‘Shareholding Cooperative Companies’ that is owned collectively by the lineage. In the Huang case, identity politics looms large in the context of globalization. In large-scale ‘big common pot festivals’ of the global Huang surname association, traditional conceptions of kinship merge with modernist conceptions of national identity.
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Armatage, Kay, et Xiqing Qin. « Clara Law Cheuk-yiu's Transcultural Cinema ». Feminist Media Histories 5, no 1 (1 janvier 2019) : 63–94. http://dx.doi.org/10.1525/fmh.2019.5.1.63.

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

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Lam, Wai-ping. « Festival impacts on the tourist economy in Hong Kong ». Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31572741.

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Lam, Wai-ping, et 林慧萍. « Festival impacts on the tourist economy in Hong Kong ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31572741.

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Cheng, Lai Mei. « Festivals and ethnicity : a study of the Chaozhou community in Kowloon City, Hong Kong / ». View abstract or full-text, 2004. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202004%20CHENG.

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Thesis (M. Phil.)--Hong Kong University of Science and Technology, 2004.
Includes bibliographical references (leaves 166-171). Also available in electronic version. Access restricted to campus users.
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Yip, Lam Christine, et 葉琳. « The performances of J.S. Bach's music in the Hong Kong Arts Festival : a case study of Bach reception in Hong Kong ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31214836.

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Wong, Kwok-hing Dominic, et 王國興. « Sustaining the intangible cultural heritage : the traditions of Yue Lan Festival in the redevelopment of Ngau TauKok Estate ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31473878.

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Chan, King, et 陳璚. « The ecology of the scavenger Nassarius festivus (gastropoda : nassariidae) in Hong Kong ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31241463.

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Chan, King. « The ecology of the scavenger Nassarius festivus (gastropoda : nassariidae) in Hong Kong / ». Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23316949.

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何詠思 et Wing-see Ho. « Amusing the gods and the people : the bamboo shed theatre of the Taiping Qingjiao festival in Sheung Shui Wai ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B42181884.

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« The cultural construction of festivals in a cosmopolis : a comparison of Christmas and the Lunar New Year in Hong Kong ». 1999. http://library.cuhk.edu.hk/record=b5889953.

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Tsang Mei Lan.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 122-128).
Abstracts in English and Chinese.
Acknowledgements --- p.iii
Abstract --- p.iv
Chapter Chapter 1 --- Introduction --- p.1
Chapter 1. --- Research Problem --- p.1
Chapter 2. --- Anthropological Background of Festivals --- p.4
On Rituals
On Cultural Identity
Chapter 3. --- Theoretical Framework --- p.8
On Hong Kong
On Festivals
Chapter 4. --- Methodology --- p.14
Participant Observation and Ethnographic Interviews Written Materials and News Collecting
Chapter 5. --- Organization of the Thesis --- p.17
Chapter Chapter 2 --- Historical Background --- p.19
Chapter 1. --- From Ethnic Conflict to Cultural Borrowing -- Christmas in Hong Kong --- p.19
Chapter 2. --- Changes of Tradition --Hong Kong's Lunar New Year --- p.30
Chapter 3. --- Creation of Local Identity in Hong Kong --- p.39
Chapter Chapter 3 --- Making Up Christmas in Hong Kong --- p.42
Chapter 1. --- Christmas in The Air --- p.43
Chapter 2. --- Constructing Via Consuming --- p.47
Christmas Commodities
Christmas Activities
Chapter 3. --- Different Interpretation of Christmas --- p.56
Consumption for Christmas
Social Relations in Christmas
Chapter 4. --- Cultural Analysis --- p.73
Westerness
Dialectics in Constructing Christmas
Christmas - An Everlasting Process of Construction
Chapter Chapter 4 --- Inheritance of Lunar New Year in Hong Kong --- p.79
Chapter 1. --- Lunar New Year in Life --- p.79
Chapter 2. --- Constructing Via Customs and Myths --- p.82
Rituals before New Year's Day
Rituals on and after New Year's Day
Chapter 3. --- Unified Meanings of Lunar New Year --- p.85
A Family Festival
An Experience of Community
A Carnival of Customs
Chapter 4. --- Reconstructing Lunar New Year --- p.95
Lost Traditions
Creation of Traditions
Boundless Traditions
Chapter 5. --- Lunar New Year - A Cultural Memory --- p.103
Chapter Chapter 5 --- A Comparison of the Festivals --- p.107
Chapter 1. --- Unspecification of Festivities --- p.107
Chapter 2. --- Meaning for Festivals --- p.109
Chapter 3. --- Cultural Imagination --- p.111
Christmas - A Foreign Festival
Lunar New Year - A Traditional Festival
Chapter 4. --- Festivals as Social Process --- p.117
Chapter 5. --- Festivals as Pools for Constructing Identity --- p.118
References --- p.122
Books and Journals
Newspaper and Magazines
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« A festival place : a floating extension of urban activities ». 1997. http://library.cuhk.edu.hk/record=b5889091.

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Mak Hon Ming Franky.
"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1996-97, design report."
Includes bibliographical references.
Chapter 1 --- DEFINING PROBLEM
Chapter 1.1 --- INTRODUCTION
Chapter 1.2 --- BACKGROUND
Chapter 1.3 --- TEMPORARY NEED FOR SPACE
Chapter 1.4 --- SITE LOCATION
Chapter 1.5 --- SITE SPECIFIC FESTIVALS
Chapter 1.6 --- NON SITE SPECIFIC FESTIVALS
Chapter 1.7 --- PROGRAMME
Chapter 2 --- DESIGN SOLUTION
Chapter 2.1 --- SITE EVOLUTION
Chapter 2.2 --- BUILDING ORGANIZATION
Chapter 2.3 --- FLEXIBLE SETTING
Chapter 2.4 --- ICON FOR FESTIVALS
Chapter 2.5 --- ZONING (MAIN STRUCTURE)
Chapter 2.6 --- ZONING(STAGE)
Chapter 3 --- STRUCTURE AND SERVICES
Chapter 3.1 --- ROOF (MAIN STRUCTURE)
Chapter 3.2 --- CONSTRUCTION
Chapter 3.3 --- "(A,B,C) JOINTING DETAILS A,B,C"
Chapter 3.4 --- HULL STRUCTURE
Chapter 3.5 --- BALANCING SYSTEM
Chapter 3.6 --- RETRACTABLE SEATING
Chapter 3.7 --- POWER AND ENERGY
Chapter 3.8 --- PLUMBING AND DRAINAGE
Chapter 3.9 --- LIFE SAFETY
Chapter 4 --- DESIGN PROCESS
Chapter 4.1 --- FIRST CONCEPT
Chapter 4.2 --- CHANGING IMAGE
Chapter 4.3 --- TWO BLOCKS WITH ATRIUM
Chapter 4.4 --- FROM ONE TO TWO
Chapter 4.5 --- FLEXIBLE ORGANIZATIONS
Chapter 4.6 --- STRUCTURAL STUDIES
Chapter 4.7 --- STRUCTURAL PURIFICATIONS
Chapter 4.8 --- FINAL SOLUTION
Chapter 5 --- LIGHTING STUDY
Chapter 5.1 --- PLANNING FOR LIGHTING
Chapter 5.2 --- LIGHTING COLUMN
Chapter 5.3 --- NATURAL VS ARTIFICIAL LIGHTING
Chapter 5.4 --- LUX LEVEL
Chapter 5.5 --- FLOODLIGHTING SPECIFICATION
Chapter 5.6 --- UPLIGHTING SPECIFICATION
Chapter 5.7 --- MODULAR LIGHTING SPECIFICATION
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Livres sur le sujet "Hong Kong – Festivals"

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Ward, Barbara E. Chinese festivals in Hong Kong. [Hong Kong?] : The Guide Book Co., 1995.

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Ward, Barbara E. Chinese festivals in Hong Kong. [S.l.] : Guidebook Co. Limited, 1993.

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Ward, Barbara E. Chinese festivals in Hong Kong. [Hong Kong?] : The Guide Book Co., 1995.

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Hong Kong International Film Festival (21st 1997). Fifty years of electric shadows : Hong Kong cinema retrospective. [Hong Kong : Urban Council], 1997.

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Days, ISCM World Music. ISCM World Music Days 2002 Hong Kong : 11-19/10/2002. Hong Kong : ISCM World Music Days, 2002.

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China) Microwave International New Media Arts Festival (2006 Hong Kong. Microwave International New Media Arts Festival : 4-15 nov, 2006, hong kong. Hong Kong : Microwave, 2006.

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Stella, Arthur, Wu Thomas et University Education in Toronto, dir. Bridge across the Pacific : Festival Hong Kong 92. Hong Kong : Institute of International Programs, 1993.

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The economic growth of Hong Kong. Westport, Conn : Greenwood Press, 1986.

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Festival Hong Kong (1992 Toronto, Ont.). Bridge across the Pacific : Festival Hong Kong 92 = Yüeh yang lien hsi Kang Chia ch'ing. Sous la direction de Wu Thomas et Arthur Stella. [Hong Kong] : Institute for International Programs, 1993.

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1941-, Lee A. Robert, dir. Old worlds, new worlds : Incorporating the edited papers from the Hong Kong Arts Festival International Symposium, March 1996. Reading : Harwood Academic Publishers, 1999.

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Chapitres de livres sur le sujet "Hong Kong – Festivals"

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Berry, Chris. « Shanghai and Hong Kong : A Tale of Two Festivals ». Dans Chinese Film Festivals, 15–33. New York : Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_2.

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Ma, Ran. « Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival ». Dans Chinese Film Festivals, 237–57. New York : Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_12.

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Marchetti, Gina. « Clara Law’s Red Earth : The Hong Kong International Film Festival and the Cultural Politics of the Sponsored Short ». Dans Chinese Film Festivals, 259–77. New York : Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_13.

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

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Yau, Esther C. M. « What Can Small Festivals Do ? Toward Film Festivals as Testimony to Expanded Civic Engagement in Post-Handover Hong Kong ». Dans Chinese Film Festivals, 141–67. New York : Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_8.

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Bridges, Brian, et Glos Ho. « Contemporary Images and Identities in the Hong Kong Dragon Boat Festival ». Dans Identity Discourses and Communities in International Events, Festivals and Spectacles, 75–95. London : Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137394934_4.

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Sun, Yi. « Shaping Hong Kong Cinema’s New Icon : Milkyway Image at International Film Festivals ». Dans Milkyway Image, 69–89. Singapore : Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6578-0_5.

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Wong, Cindy Hing-yuk. « Creative Cinematic Geographies Through the Hong Kong International Film Festival ». Dans A Companion to Hong Kong Cinema, 185–206. Hoboken, NJ : John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781118883594.ch9.

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« 6 .The Hong Kong International Film Festival as Cultural Event ». Dans Film Festivals, 190–222. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9780813551104-008.

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Lee, Joseph Tse-Hei. « Screening Politics in Hong Kong ». Dans Chinese Cinema, 41–57. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888528530.003.0003.

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This chapter negotiates the art of representing crisis and the crisis of representation as shown in the visual and discursive modes of cinematic portrayals of Hong Kong’s political change in the post-1997 era. Through a closer look at Ten Years (Shi nian , dir. Kwok Zune, Fei-Pang Wong, Jevons Au, Kwun-Wai Chow, Ka-Leung Ng, 2015) and independent documentaries on young Umbrella protesters such as Lesson in Dissent (dir. Matthew Torne, 2014), Joshua: Teenager vs. Superpower (dir. Joe Piscatella, 2017) and Lost in the Fumes (Dihou tiangao , dir. Nora Lam, 2017), this study argues that these films reframe social and political upheavals and youth activism in historical perspective and bend various genres aesthetically. Carving out their niche audience at community screening events and international film festivals, both local and foreign filmmakers employ cinema as a powerful tool of political critique, re-evaluating the different forms of Chinese dominance over the postcolonial city.
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