Ma looks at the ways in which the identity of Hong Kong citizens has changed in the 1990s especially since the handover to China in 1997. This is the first analysis which focuses on the role, in this process, of popular media in general and television in particular. The author specifically analyses at the relationship between television ideologies and cultural identities and explores the role of television in the process of identity formation and maintenance.

Ma looks at the ways in which the identity of Hong Kong citizens has changed in the 1990s especially since the handover to China in 1997. This is the first analysis which focuses on the role, in this process, of popular media in general and television in particular. The author specifically analyses at the relationship between television ideologies and cultural identities and explores the role of television in the process of identity formation and maintenance.

This book traces the evolution of the Hong Kong’s popular culture, namely film, television and popular music (also known as Cantopop), which is knotted with the city’s geo-political, economic and social transformations. Under various historical contingencies and due to the city’s special geo-politics, these three major popular cultural forms have experienced various worlding processes and have generated border-crossing impact culturally and socially. The worlding processes are greatly associated the city’s nature as a reception and departure port to Sinophone migrants and populations of multiethnic and multicultural. Reaching beyond the “golden age” (1980s) of Hong Kong popular culture and afar from a film-centric cultural narration, this book, delineating from the dawn of the 20th century and following a chronological order, untangles how the nowadays popular “Hong Kong film”, “Hong Kong TV” and “Cantopop” are derived from early-age Sinophone cultural heritage, re-shaped through cross-cultural hybridization and influenced by multiple political forces. Review of archives, existing literatures and corporation documents are supplemented with policy analysis and in-depth interviews to explore the centennial development of Hong Kong popular culture, which is by no means demise but at the juncture of critical transition.

This book examines music entertainment programmes on China Central Television, China’s only national level television network, as well as on nationally-available provincial channels, exploring how such programmes project a nuanced image of China’s identity and position in the world. It shows how the images presented - primarily to domestic audiences - are in step with China’s party-state nationalism, and at the same time flexible and open to change as China’s circumstances change. The book contextualises identity construction in the media by examining the development of television in China and the political struggles between provincial and national television stations, as well as by foregrounding the historical and contemporary role of musical culture in China's nation-building project. It discusses the portrayal of the majority Han Chinese, and of ethnic minorities and their music, which, the author argues, are shown as fitting with the party-state rhetoric of “a unitary multi-ethnic state”. It also outlines how the Chinese of Greater China – Hong Kong, Taiwan, Macao and the overseas Chinese – are incorporated into a mainland centred Chinese identity. In addition, it shows how the performances of foreign personalities on the Chinese television stage emphasise foreigners' attraction to China, the uniqueness of the Chinese nation and Chinese civilisation, and the revitalised role of China in the world. Overall, the book demonstrates how the variations of Chinese identity fit with prevailing political ideologies in China and with the emerging theme of a China-centred world.

In this intriguing and provocative exploration of its cinema, architecture, photography, and literature, Ackbar Abbas considers what Hong Kong, with its unique relations to decolonization and disappearance, can teach us about the future of both the colonial city and the global city.

"Does Hong Kong culture still matter? This informative and interdisciplinary volume proves unmistakably so. It stands as an essential Hong Kong reader, a rich resource not only for those specialized in Hong Kong culture and history but also for students, teachers, and researchers interested in cosmopolitanism, postcolonial conditions, as well as cultural globalization."-Laikwan Pang, The Chinese University of Hong Kong "A very timely, ambitious and fascinating book. The essays are based on solid research, and full of theoretical or analytical insights illustrating the complexity of social and cultural life in Hong Kong. In addition to offering excellent essays on Hong Kong cinema, the book also surveys alternative performance art and documentary, which are undoubtedly the least researched aspects of Hong Kong's cultural scene."-Law Wing Sang, Lingnan University Hong Kong as a world city draws on a rich variety of foundational "texts" in film, fiction, architecture and other forms of visual culture. The city has been a cultural fault-line for centuries ù a translation space where Chinese-ness is interpreted for "Westerners" and Western-ness is translated for Chinese. Though constantly refreshed by its Chinese roots and global influences, this hub of Cantonese culture has flourished along cosmopolitan lines to build a modern, outward-looking character. Successfully managing this perpetual instability helps make Hong Kong a postmodern stepping-stone city, and helps make its citizens such prosperous and durable survivors in the modern world. This volume of essays engages many fields of cultural achievement. Several pieces discuss the tensions of English, closely associated with a colonial past, yet undeniably the key to Hong Kong's future. Hong Kong provides a vital point of contact, where cultures truly meet and a cosmopolitan traveler can feel at home and leave a sturdy mark. Contributors include John Carroll, Carolyn Cartier, David Clarke, Elaine Ho, Douglas Kerr, Michael Ingham, C. J.W.-L. Wee, Chu Yiu-Wai, Gina Marchetti, Esther M.K. Cheung, Pheng Cheah, Chris Berry, and Giorgio Biancorosso. Kam Louie is dean of the Faculty of Arts at the University of Hong Kong.

The world was watching Hong Kong as its sovereignty was returned to China in 1997. Many predicted that it was the doomsday of press freedom in the city. Now, a decade after the handover, this book provides an up-to-date review of the dynamic relationship between media and political power in the post-handover years. It covers seven key issues including the mapping of the changing boundaries of press freedom, the impact of media ownership change on editorial stance, the development of national and hybrid identities, the tension between self-censorship and media professionalism, the rising importance of government public relations, the power and limits of hegemonic discourse, and the countervailing force posed by collective actions and public opinion. These studies combine to reveal how the media are transformed as power structure is reconfigured and how the media may act upon politics in exerting their roles as the people’s voice. The book will serve as a reference for anyone who is interested in the evolution of political communication in a transitional society.

Studies of Hong Kong media primarily examine whether China will crush Hong Kong’s media freedom. This book however traces the root problem of Hong Kong media back to the colonial era, demonstrating that before the resumption of Chinese sovereignty there already existed a uniquely Hong Kong brand of hyper-marketized and oligopolistic media system. The system, encouraged by the British colonial government, was subsequently aggravated by the Chinese government. This peculiar system is highly susceptible to state intervention and structurally disadvantaged dissent and marginal groups before and after 1997. The book stresses that this hyper-marketized media system has been constantly challenged. Through a historical study of media stigmatization of youth, this book proposes that over the years various counter forces have penetrated the structurally lopsided Hong Kong media: independent, public, popular and news media all make occasional subversive alliances to disrupt the mainstream, and news media, with a strong liberal professionalism, provide the most subversive space for challenging cultural hegemony. The book offers an alternative and fascinating account of the dynamics between hegemonic closure and day-to-day resistance in Hong Kong media in both the colonial and post-colonial eras, arguing that the Hong Kong case generates important insights for understanding ideological struggles in capitalist media.

A descriptively annotated, multidisciplinary, cross-referenced and extensively indexed guide to 2,395 dissertations that are concerned either in whole or in part with Hong Kong and with Hong Kong Chinese students and emigres throughout the world.

This book examines Hong Kong’s struggle against the disappearance of its unique identity under the historical challenges of colonialism, in addition to the more recent reimposition of Chinese authoritarian government control, as reflected in three under-researched forms of visual media: comics, advertising and graphic design. Each section of the book focuses on one of these three forms, and each chapter focuses on one stage of Hong Kong’s changing cultural identity. The articulative position of this book is on studies of visual cultural history and media communication. Its case studies will broaden readers’ own cultural knowledge for a more international understanding. The Disappearance of Hong Kong in Comics, Advertising and Graphic Design advances the development of its three key subjects in terms of identity, communication and cultural politics, aiming to reach a wide range of multidisciplinary readers.