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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, nr 2 (1.10.2022): 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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Ingham, Mike, i Kenny K. K. Ng. "Introduction: Hong Kong independent documentaries and their visibility". Asian Cinema 33, nr 2 (1.10.2022): 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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Yee, Winnie L. M. "The post-urban gaze and Hong Kong independent cinema: An ecofeminist perspective". Asian Cinema 30, nr 2 (1.10.2019): 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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Lee, Joseph Tse-Hei. "Despair and hope: cinematic identity in Hong Kong of the 2000s". Social Transformations in Chinese Societies 13, nr 2 (5.09.2017): 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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Marchetti, Gina. "Documentary and democracy: An interview with Evans Chan". Asian Cinema 33, nr 2 (1.10.2022): 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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Zheng, Victor, i Siu-lun Wong. "Road to independence". Social Transformations in Chinese Societies 12, nr 2 (3.10.2016): 114–32. http://dx.doi.org/10.1108/stics-08-2016-0012.
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Purpose The paper aims to explore the road to independence of the less-fortunate women in early Hong Kong society and their means in passing of wealth after death. In the 1970s, about 400 Chinese wills from the 1840s to the 1940s were dug up on a construction site in Hong Kong. One-fourth of these were from women who had held a substantial amount of property. How they obtained this property intrigued us because, at that time, women were seen as subordinate to men and excluded from the labor market. Why they had wills led to further questions about Hong Kong society of that time and the role of women in it. Design/methodology/approach The analysis of this paper is based on archival data gathered from the Hong Kong Public Records Office. These data include 98 women’s wills filed from the 1840s to the 1940s and a 500-page government investigation report on the prostitution industry released in 1879. The former recorded valuable information of brief testators’ family and personal life history, amount of assets, and profolio of investment, etc. The latter included testimonials of brothel keepers and prostitutes and their life stories and the background of legalizing prostitution in early Hong Kong. Apart from basic quantitative analysis on women’s marital status, number of properties, nature of wills and number of brothels, qualitative analysis is directed to review the testator’s life of self-reliance, wealth accumulation and reasons of using wills for arranging wealth transmission after death. Findings In this paper, the authors found that because the colonial government declared prostitution legal, and only women could obtain employment by becoming prostitutes or brothel keepers, they earned their own livelihood, saved money and finally became independent. However, because these professions were not seen as “decent”, and these women were excluded from the formal marriage system, intestacy could cause problems for them. Through their socio-business connections, they became familiar with the Western concept of testate inheritance. So, they tended to use wills – a legal document by which a person assigns someone to distribute his or her property according to his or her wishes after his or her death – to assign their property. Research limitations/implications Because only archival data are chosen for analysis, the research results may lack generalizability. Follow-up researches to examine whether the studied women acquired their wealth through their own work or simply as gifts from others are required. Originality/value This paper explores the understudied women’s life and method of estate passing after death in the early Hong Kong society. It fills the academic gap of women’s contribution to Hong Kong’s success and enriches our understanding on the important factors that could attribute women’s real independence.
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Chiu, Kit Fung Henry. "Going to the people: Community screening, documentary and the plebeian public sphere in Hong Kong". Asian Cinema 33, nr 2 (1.10.2022): 209–24. http://dx.doi.org/10.1386/ac_00056_1.
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This article is an ethnographic and historical study that focuses on the ‘plebeian public sphere’ – a democratic sphere opened up by the community screening of independent documentary films. My article argues that this innovative public screening establishes a mode of communication that connects audiences with the neighbourhood where people gather together and form local communities by sharing experience and emotion based on history, story and memory. This process evokes a source of affective energy that is capable of catalysing social change. It challenges not only previous theoretical approaches to the public sphere, but also the stereotypical understanding of ‘the public’ in the Hong Kong context.
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Marchetti, Gina. "Hong Kong Independent Filmmaking". Afterimage 14, nr 10 (1.05.1987): 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, nr 10 (1.05.1987): 16–17. http://dx.doi.org/10.1525/aft.1987.14.10.16.
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Lo, Sonny Shiu-Hing. "Hong Kong in 2019". Asian Survey 60, nr 1 (styczeń 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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Wang, Kai, i Nan Li. "ANALYSIS OF HONG KONG ZOMBIE MOVIES AUDIOVISUAL LANGUAGE IN THE 1980S". International Journal of Law, Government and Communication 7, nr 29 (1.09.2022): 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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Stockbridge, Sally. "Sexual Violence & Hong Kong Films". Media Information Australia 74, nr 1 (listopad 1994): 86–92. http://dx.doi.org/10.1177/1329878x9407400113.
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Lu, Xin. "Expression of Hong Kong Directors in the Chinese Main-Melody Film: The Artistic Propaganda". Asian Journal of Social Science Studies 7, nr 7 (1.08.2022): 61. http://dx.doi.org/10.20849/ajsss.v7i7.1246.
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By analysing the main-melody film works of Hong Kong directors and the understandings and attitudes of audiences in both mainland China and Hong Kong toward these films, it is hoped that this research will contribute to a deeper understanding of the particularity of Hong Kong people’s national identity. This would provide a significant opportunity to advance the understanding of Hong Kong’s status and value in contemporary China and the world. Furthermore, this study will offer some critical insights into the distribution of Hong Kong films in mainland China.
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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, nr 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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Lu, Xiao. "Hollywood Genre, Cultural Hybridity, and Musical Films in 1950s Hong Kong". Arts 12, nr 6 (8.11.2023): 237. http://dx.doi.org/10.3390/arts12060237.
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Following the trauma of the Second World War, Hong Kong, under British governance, enjoyed considerable economic and political freedom to establish a local entertainment industry. Musical films became a major genre of Hong Kong’s film releases in the 1950s. Local melodramas, Hollywood musicals, celebrities, and ideals of female beauty were all present in the growth of Hong Kong musical films, which culminated in a glorious display of cinematic art. This article aims to provide insight into the popularity of Chinese-speaking musical films by examining the social, economic, and political complexity of 1950s Hong Kong, including post-war migration and colonial censorship. An in-depth analysis of Li Han-Hsiang’s The Kingdom and the Beauty demonstrates how Hong Kong studios adapted the Hollywood musical to tell Chinese stories and how Hong Kong musical films incorporated Chinese literature and music to represent cultural memory, local identity, and modern aesthetics. This case study sheds light on the localization of a Hollywood genre and the hybridization of Chinese and Western entertainment forms to appeal to a Chinese audience, thereby broadening the definition of cultural hybridity and informing the practice of Hong Kong’s musical filmmaking.
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Liu, Xinyu. "A Probe in the Language Features of Fruit Chan's Films from the Perspective of Audio-visual Characteristics: Taking the Trilogy on Hong Kong's Return to China as an Example". BCP Social Sciences & Humanities 15 (13.03.2022): 138–43. http://dx.doi.org/10.54691/bcpssh.v15i.380.
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After the territory of Hong Kong formally returned in 1997 to its rightful owner of China, Fruit Chan (Chen Guo), a director, rose to fame with his trilogy on HK's return (namely Little Cheung, Made in Hong Kong, and The Longest Summer). Since then, he has successively made many films reflecting humans' real living status. Most of Hong Kong-made films in the past were standardized and industrialized, such as comedies and action films which are familiar to us, while there were few realistic films that could indeed depict and present the social changes to the public. Therefore, films like Fruit Chan's, which demonstrates tragic and profound ideas, are extremely rare and valuable in Hong Kong's film industry. Although Chan has not produced many works, all of them are endowed with realistic hue, aesthetic characteristics, and profound humanistic thoughts, which makes his films monuments of Hong Kong's realistic ones. It is easy to find sense of mission and sentimental feelings in his films, enabling us to better see how Hong Kong films move forward in the direction of visual transmission after Hong Kong’s return to China from multiplex angles of view.
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Zhou, Ziheng. "Flowing landscapes: Hong Kong leftist documentary films during the Cold War (1954–1979)". OOO "Zhurnal "Voprosy Istorii" 2022, nr 12-3 (1.12.2022): 332–37. http://dx.doi.org/10.31166/voprosyistorii202212statyi96.
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Hong Kong leftist cinema took “landscape” as their theme to avoid the risks of censorship by the British Hong Kong authorities. These “landscapes” not only allowed viewers to project patriotic feelings, but also built a sense of community of destiny between Mainland China and Hong Kong. Sorting out the characteristics of leftist documentaries allows you to get a more complete picture of the view of Hong Kong's leftist culture.
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Stockbridge, Sally. "Rape and representation: the regulation of Hong Kong films in Hong Kong and Australia". Asian Studies Review 17, nr 3 (kwiecień 1994): 43–49. http://dx.doi.org/10.1080/03147539408712949.
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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, nr 2 (1.10.2022): 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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Hongjin He, Hilary. ""Chinesenesses" Outside Mainland China: Macao and Taiwan through Post-1997 Hong Kong Cinema". Culture Unbound 4, nr 2 (1.06.2012): 297–325. http://dx.doi.org/10.3384/cu.2000.1525.124297.
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By examining the filmic representation of Macao and Taiwan in Hong Kong films, mostly released after the 1997 sovereignty transfer, this paper will address the notion of Chineseness in its plural form as associated with different Chinese societies. The purpose is to bring attention to the cosmopolitan side of Chineseness in Hong Kong cinema rather than the mere influence from the Mainland (PRC). I will argue that it is this pluralised, composite Chineseness reflected in Hong Kong cinema that has reinforced its very “Hong Kong-ness” against the impact from the “orthodox” Chineseness of the Mainland. Through a combination of textual and contextual analyses of selected Hong Kong diaspora films respectively set in Macao and Taiwan, this paper aims to provide a general understanding of the imbrications of various Chinese societies within Greater China and, most importantly, the changing role and position of Hong Kong (cinema) within this conceptual China as “one country” before and after it became a special part of the PRC.
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OKUNO, Shii. "Beyond Martial Arts in Hong Kong Films". Japanese Journal of Human Geography 56, nr 6 (2004): 615–32. http://dx.doi.org/10.4200/jjhg1948.56.615.
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Wai-Ming, Benjamin. "Japanese Elements in Hong Kong Erotic Films". Asian Cinema 15, nr 1 (1.03.2004): 217–24. http://dx.doi.org/10.1386/ac.15.1.217_1.
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Yang, Xinrui. "Postmodern Representations and Reflections in Hong Kong Urban Cinema: A Study on the Works of Heiward Mak Hei-Yan". Journal of Education, Humanities and Social Sciences 24 (31.12.2023): 726–31. http://dx.doi.org/10.54097/bmzw1726.
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In the new millennium, a discontinuity of postmodern elements began to surface in Hong Kong commercial films. However, young director Heiward Mak Hei-yan integrated postmodern elements into her works, which are primarily urban films, inheriting and developing the postmodern tradition of Hong Kong cinema. She does this primarily by shaping marginal urban landscapes and crowds, capturing the less noticed aspects of Hong Kong city, and demonstrating the anti-grand narrative characteristic of postmodernism. By establishing a postmodern perspective on love, she breaks and "rebels" against traditional romance films, not just merely glorifying the myth of love, but emphasizing the questioning of the eternal view of modern love. Simultaneously, she illustrates the dilemmas of postmodern alienation to portray the contemporary postmodern mentality and cultural symptoms of Hong Kong people in this unique geographical location. Her urban films reflect her positive thinking about urban romance, life, and mental state in a postmodern context, providing the possibility of parallelism between commerciality and postmodernism, and offering insights for the development of Hong Kong cinema.
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Chan, Charlene Peishan. "“I Want to be More Hong Kong Than a Hongkonger”". Lifespans and Styles 6, nr 1 (24.05.2020): 13–27. http://dx.doi.org/10.2218/ls.v6i1.2020.4398.
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The years leading up to the political handover of Hong Kong to Mainland China surfaced issues regarding national identification and intergroup relations. These issues manifested in Hong Kong films of the time in the form of film characters’ language ideologies. An analysis of six films reveals three themes: (1) the assumption of mutual intelligibility between Cantonese and Putonghua, (2) the importance of English towards one’s Hong Kong identity, and (3) the expectation that Mainland immigrants use Cantonese as their primary language of communication in Hong Kong. The recurrence of these findings indicates their prevalence amongst native Hongkongers, even in a post-handover context.
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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, nr 2 (1.09.2020): 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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Laukkanen, Tatu-Ilari. "Shanghai gangster films and the politics of change". Novos Olhares 9, nr 1 (10.07.2020): 81–97. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.172000.
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In this paper through a very close textual reading I will show the ideological differences between two films based on the life of Shanghai gangster Du Yuesheng (1888, Pudong – 1951, Hong Kong) through close formal and narrative analysis. Du was already a celebrity in his day in the Republican era and is still a con-troversial figure in Greater China. However, there are only two films based on the life of the French Con-cession opium kingpin, the recent Hong Kong/PRC co-production The Last Tycoon (Da Shang Hai, Wong Jing, 2012) and the epic two part Lord of the East China Sea I & II (Shang Hai huang di zhi: Sui yue feng yun & Shang Hai huang di zhi: Xiong ba tia xia, Hong Kong, Poon Man-kit 1993). I show how these films reflect HK's and China's politico-economic changes focusing on the representation of social class and the subject, depiction of internal migration and immigration, and nationalism. The films will be discussed in their relation to changes in the Hong Kong film industry, Chinese and world cinema and the transnational gangster genre, showing how local and global cinemas have affected these films.
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Dong, Zhaoyang. "Encoding and Decoding: Mapping Social Value Shifts and Social Contexts in Hong Kong Crime Films". Communications in Humanities Research 9, nr 1 (31.10.2023): 44–50. http://dx.doi.org/10.54254/2753-7064/9/20231099.
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Since the 1980s, Hong Kong film has had a wide impact on the world. Amongst this, crime films take a salient position. It results from the strong artistic tension within the production of crime films itself, and on the other hand, it provides us with rich material for studying the changing socio-cultural context of Hong Kong. The creation and dissemination of art is both a process of coding for the creator and a process of coding for the social context, a process that involves both the personal expression of the creator and inevitably the shaping of cultural codes by ideology. Since A Better Tomorrow, Hong Kong crime films, as a category of films closely connected to social reality, have had a significant impact in responding to social issues. The main content of Hong Kong crime films also has a strong role in shaping social contexts and influencing audiences perceptions in a subtle way. Therefore, in the process of creation, apart from thinking about the artistry of the films, the impact on the shaping of social perceptions of the films also needs to be taken into consideration.
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Qiu, Yizhang, i Sinchit Lai. "Route Competition In Hong Kong". Journal of Air Law and Commerce 89, nr 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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Lei, Chin-Pang. "The Memories of Journeys: Spatialization of Time in Wong Kar-wai’s Nostalgic Films". Arts 11, nr 4 (20.07.2022): 72. http://dx.doi.org/10.3390/arts11040072.
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There is usually an agenda behind the rewriting of history. As an acclaimed Hong Kong director, Wong Kar-wai has made several nostalgic films set in 1960s Hong Kong, namely, Days of Being Wild (1990), In the Mood for Love (2000), and 2046 (2004). Relating to Hong Kongers’ anxiety over the 1997 handover, Wong’s films are part of a wider symptomatic cultural phenomenon in Hong Kong cinema. In his nostalgic films, time is often spatialized. With his constant interest in mobile space, such as hotels and trains, he creates an alternative perspective to question the grand narrative of history. In his reconstruction of the past, there is never any cultural purity or origin to revisit. Rather, the past is presented with itinerant characters, mobile space, and cultural ambivalence, enabling multiple narratives of history. Focusing on the use of space, this paper analyzes how Wong’s films engender a reflective form of nostalgia, and challenge both official history and the linear concept of time. Wong’s nostalgia, I argue, is not only a response to Hong Kong politics, but also a paradigmatic text illustrating nostalgic writing’s resistance to official historical discourses.
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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, nr 1 (28.11.2023): 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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Sobel, Chan Ka Lok. "The Dynamic Aesthetics, Locality and Dehybrid Style of Hong Kong Cinema facing the Recovery of Post-Pandemic Period." AVANCA | CINEMA, nr 14 (5.01.2024): 452–58. http://dx.doi.org/10.37390/avancacinema.2023.a530.
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This paper examines the revitalization of Hong Kong cinema in the post-pandemic era, focusing on the dynamic aesthetics, preservation of locality, and the emergence of a dehybrid style. By analyzing various contemporary Hong Kong films, this paper argues that the post-pandemic recovery period has facilitated new creative possibilities and a reconnection to the region’s unique cultural identity. The study also takes into account the historical trajectory of Hong Kong cinema, the impact of the global pandemic on Hong Kong film industry, and the sociopolitical factors that have shaped the industry’s response to these challenges.
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Sia, Tiffany. "New Territories". Film Quarterly 76, nr 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, nr 2 (1.10.2020): 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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Changsong, Nam Wang, i Rohani Hashim. "How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s". GATR Global Journal of Business Social Sciences Review 2, nr 1 (13.01.2014): 54–67. http://dx.doi.org/10.35609/gjbssr.2014.2.1(7).
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Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the mid and late 1960s, blended musical and melodrama by dormant with the rise of martial art films. Novelty - This study attempts to elaborate some films featuring young people in Mainland China, Taiwan and Hong Kong, and to review the histories of youth cinema in these Chinese regions. The Chinese youth film outlines how, in Chinese communities, the category of youth historically functions as a significant site of ideological inscription that displays its struggles towards an idealized future. Type of Paper: Review Keywords : Chinese cinema; Film history; Hong Kong; Mainland China; Taiwan; Youth genre
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Yeung, Jessica Siu-yin. "“I wish my films would bring hopes to the spectators”". Archiv orientální 90, nr 3 (22.12.2022): 565–74. http://dx.doi.org/10.47979/aror.j.90.3.565-574.
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Michael Hui received the Lifetime Achievement Award at the 40th Hong Kong FilmAwards and the Award for Outstanding Contribution in Arts at the 15th Hong Kong ArtsDevelopment Awards. Hui was also featured as the “Filmmaker in Focus” at the 44thHong Kong International Film Festival. Although the South China Morning Post (2022),Art and Piece (2022), Michael Hui, Filmmaker in Focus (2020), Karen Fang (2018), and TimYoungs (2011) have also published interviews with Hui, they were more interested inthe biographical and the industrial aspects of Hui’s career. This interview focuses onHui’s insights into comedy’s versatility and how it consoles people in a time of gloom.
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Lee, Zardas Shuk-Man, Phoebe Y. H. Tang i 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, nr 2 (1.05.2013): 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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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, nr 2 (1.10.2022): 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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Fung, Chi Keung Charles, i 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, nr 2 (8.04.2019): 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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Cahyani, Tinuk Dwi, Muhamad Helmi Md. Said i Muhamad Sayuti Hassan. "Comparative Analysis of The Effectiveness of Punishment Over Corruption in Indonesia and Hong Kong". Journal of Educational and Social Research 13, nr 5 (5.09.2023): 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, nr 1-2 (6.04.2014): 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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Wu, Hang. "The Translocalized McDull Series: National Identity and the Politics of Powerlessness". Animation 12, nr 1 (marzec 2017): 28–44. http://dx.doi.org/10.1177/1746847716686550.
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The animated film Me & My Mum was released in mainland China and Hong Kong in 2014 and proved to be a huge box office hit, cashing in on the existing McDull animated films that are hailed as the best animations in Hong Kong. Previous scholarship suggests that the McDull animated film series is a symbol of Hong Kong local culture; it serves as a repository of the changing landscapes of Hong Kong and demonstrates hybrid identities. However, this article argues that the McDull animated film series is more translocal than local, a fact which reveals the dynamics of the Hong Kong–mainland China relationship after Hong Kong’s return to Chinese sovereignty in 1997. The translocalized McDull series demonstrates an obsession with Chineseness which helps to evoke the national identity. By aestheticizing powerlessness as cuteness through anthropomorphic animals, the McDull series used to be highly political; they grappled with the wounds of society in Hong Kong. However, the articulation of a well-rounded McDull in the translocalized film Me & My Mum indicates that it is conforming to the Chinese Communist Party’s ideology of ideal children while the political power of aestheticizing powerlessness is repressed, revealing the dominant power of the Chinese film market.
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Michael, Bryane. "Making Hong Kong companies liable for foreign corruption". Journal of Financial Crime 22, nr 1 (5.01.2015): 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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Hu, Gigi T. Y. "Reaction to Hong Kong—made films in Southeast Asia". Media Asia 25, nr 2 (styczeń 1998): 98–101. http://dx.doi.org/10.1080/01296612.1998.11727174.
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Ke, Cui. "On Hong Kong Urban Space in Ann Hui’s Films". Film，Television and Theatre Review 4, nr 1 (2024): 64–70. http://dx.doi.org/10.35534/fttr.0401007.
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Lee, Sangjoon. "Destination Hong Kong: The Geopolitics of South Korean Espionage Films in the 1960s". Journal of Korean Studies 22, nr 2 (1.09.2017): 343–64. http://dx.doi.org/10.1215/21581665-4226478.
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Abstract As the apparent progeny of Cold War politics in the West, espionage films witnessed unprecedented popularity around the globe in the 1960s. With the success of Dr. No (1962) and Goldfinger (1964)—along with French, Italian, and German copycats—in Asia, film industries in Japan, Hong Kong, Taiwan, and South Korea recognized the market potential and embarked on churning out their own James Bond-mimetic espionage films in the late 1960s. Since the regional political sphere has always been multifaceted, however, each country approached genre conventions with its own interpretation. In the US-driven Cold War political, ideological, and economic sphere, developmental states in the region, particularly South Korea and Taiwan, vigorously adopted anti-communist doctrine to guard and uphold their militant dictatorships. Under this political atmosphere in the regional sphere, cultural sectors in each nation-state, including cinema, voluntarily or compulsorily served as an apparatus to strengthen the state’s ideological principles. While the Cold War politics that drive the narrative in the American and European films is conspicuously absent in Hong Kong espionage films, South Korea and Taiwan, on the other hand, explicitly promulgated the ideological principles of their apparent enemies, North Korea and the People’s Republic of China (PRC), in their representative espionage films. This article casts a critical eye over South Korea–initiated inter-Asian coproduction of espionage films produced during the time, with particular reference to South Korea–Hong Kong coproduction of SOS Hong Kong (SOS Hongk’ong) and Special Agent X-7 (Sun’gan ŭn yŏngwŏnhi), both produced and released in 1966.
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Lin, Yang. "E-commerce and Online Dispute Resolution in Hong Kong". Amicus Curiae 4, nr 3 (24.06.2023): 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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Bren, Frank. "Connections and Crossovers: Cinema and Theatre in Hong Kong". New Theatre Quarterly 14, nr 53 (luty 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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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, nr 2 (maj 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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Gan, Wendy. "Tropical Hong Kong: Narratives of absence and presence in Hollywood and Hong Kong films of the 1950s and 1960s". Singapore Journal of Tropical Geography 29, nr 1 (marzec 2008): 8–23. http://dx.doi.org/10.1111/j.1467-9493.2008.00316.x.
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Summers, Tim. "The Hong Kong Special Administrative Region at 20". Asian Education and Development Studies 7, nr 1 (2.01.2018): 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.