DOCSLIB.ORG

A RECORD of an ONGOING PROJECT of PERFORMANCE and ARCHIVE Entitled the FRAGILE EGGS: TESTIMONY of the HONG KONG PROTESTS with a COROLLARY STATEMENT by Mandy Wong

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

A RECORD OF AN ONGOING PROJECT OF PERFORMANCE AND ARCHIVE entitled THE FRAGILE EGGS: TESTIMONY OF THE HONG KONG PROTESTS with a COROLLARY STATEMENT by Mandy Wong ©2020 Mandy Wong A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts School of Art Pratt Institute May 2020 A RECORD OF AN ONGOING PROJECT OF PERFORMANCE AND ARCHIVE entitled THE FRAGILE EGGS: TESTIMONY OF THE HONG KONG PROTESTS with a COROLLARY STATEMENT by Mandy Wong Received and approved: Major Professor Name: Ann Messner Advisor for Corollary Statement Name: Jen Mazza Department Chair Name: Jane South 1 To the protesters in Hong Kong, for whom I wish to be hands and feet; to the people who are seeing these words, I apologize for my attempt and failure to be objective, that the work takes off from my stance, fear, and belief. I apologize for being in a distant safe place while claiming myself fraternal. I apologize for not expecting a victory, yet pushing the crowds to continue and to escalate. I apologize for my ignorance of the meaning of autonomy, democracy, and freedom that I am fighting for. I apologize for enjoying a privilege to ensure my safety, at the same time having a desire to suffer. I apologize that during the protests I incurred no physical wounds, that I was not beaten, arrested, raped, or forced to commit apparent suicide, and that I received no personal threat. I apologize for the fact that I am mentally and physically inferior to fully grasp your pain. I apologize for being proud of my Hongkonger identity, at the same time aspiring to get the American nationality. I apologize for using the feelings and wounds of others to speak for me. I apologize for not being communicative in my primary language, and that I steal the words from 1 Rabih Mroué to complete these very words. I apologize because I dislike the place I was born in and only miss the time, the sound, the air, and the mood when we protest. I apologize for any potential and unverifiable lies allowed to take place between me and my participants. I must insist, however, that what I heard, saw, and acknowledged are the respectful Truth. 1 A Lebanese artist and actor who creates plays, performances, videos, and photographs emerges in the ​ post–Civil War Lebanon. 2 Acknowledgments …………………………………………………………………………. 4 Preface: The Fears …………………………………………………………………………. 5 Timeline of the Hong Kong Protests …………………………………………………………. 8 I. The Fear of Losing ………….……………………………………………………………… 43 II. Feared to be Subjective …………………………………………………………………. 47 III. Fear to Represent ………….……………………………………………………………… 51 List of Digital Documents …………………………………………………………………. 54 Bibliography …………………...……………………………………………………………. 56 ​ 3 Acknowledgments First and foremost, I would like to express my sincere gratitude to Ann Messner, one of the educators whom I revere the most, for her continuous support, enlightenment, and motivation throughout the past two years. I also thank Carlos Motta for the insightful guidance that benefits much in the refinement of this project. I am thankful to my colleagues in the Integrated Practices and Thesis class, who have always been encouraging. Besides, I am grateful to Saichia Cheng, my soulmate, and a great advisor. Without her persistent help, this project would not have been possible. I am greatly indebted to all participants and volunteer translators for their generosity and trust. Above ground, I must show my gratitude to Jerry Chan for being a blessing to me. 4 Preface: The Fears I am an artist, and firstly, I am a protester and a Hong Konger. 2 Hongkongers, “A native or inhabitant of Hong Kong,” is a self-identifying term to express one’s affiliation with Hong Kong. This city is one of the most neoliberal financial centers globally, and a former British colony now returned to the Chinese Communist Party 3 (CCP) governance. Hong Kong has now entered its anniversary (as of June 2020) of the largest protest movements in decades against suppressive governance and police brutality. Throughout the evolution, the happenings have been named variously among media and politicians, both local and overseas. The description starts with ‘Anti-extradition bill (ANTIELAB)’, then transit to ‘riot’, ‘Water Revolution’, ‘anti-government/China protests’, ‘summer of discontent’ and ‘pro-democracy movement’. Now tentatively identified as the ‘Hong Kong Protests’ In February 2019, the Hong Kong government announced an amendment to the Mutual Legal Assistance in Criminal Matters Ordinance and the Fugitive Offenders Ordinance (extradition amendment bill) that would allow regions formerly without extradition agreement to 4 detain and transfer wanted people, which include Taiwan and the mainland China. Chief Executive Carrie Lam and officials proclaim the implementation of the law is an urgent solution to a murder case in Taiwan committed by a Hong Kong man, as well as a plug of a “loophole” that “has allowed the city to become a haven for criminals.” On the other hand, there was a backlash against the bill, indicating an accumulating fear of political mistreatment under China’s 5 legal system. 2 “Definition of Hongkonger,” Lexico (Oxford Dictionary), accessed April 20, 2020, ​ http://www.lexico.com/definition/hongkonger. 3 “Hong Kong Economy: Population, Facts, GDP, Business, Trade, Inflation,” 2020 Index of Economic ​ Freedom (The Heritage Foundation, 2019), https://www.heritage.org/index/country/hongkong. 4 “Cooperation between Hong Kong and Other Places on Juridical Assistance in Criminal Matters” (Hong ​ Kong: Security Bureau, February 2019). 5 Greg Torode, “Why Proposed Changes to Hong Kong’s Extradition Law Fueled Protests,” Reuters, June ​ ​ ​ 15, 2019, http://www.reuters.com/article/us-hongkong-extradition-explainer/explainer-why-proposed-changes-to-ho ng-kongs-extradition-law-are-fueling-protests-idUSKCN1TD0NB. ​ 5 The discontents (and fear) take a departure from a far more historical context -- an identity and social struggle under colonialism. Hong Kong has been a borrowed place in a borrowed time beneficial for faraway elites. Along with the dilemmas, people in Hong Kong generate a unique culture and value system that further differentiate themselves from being Chinese or Britain. During 150 years of the British colonial period, Hong Konger was never added to the table about the talk on the city's future and any democratic reform. In 1985, both China and Britain's prime minister signed the Sino-British Joint Declaration, claiming a guarantee to Hong Kong’s high degree of autonomy from China under ‘One Country, Two Systems’ for 50 years. Meanwhile, the general public in Hong Kong witnessed the June Fourth Incident in Beijing in 1989, when the Chinese government sent the military to massacre pro-democracy students. An atmosphere of uncertainty and anxiety surrounded the handover of Hong Kong in 6 1997. Over the 23 years since the handover, the system in Hong Kong is not genuinely democratic, yet only with its constituents. The society has brimmed with disappointment due to extreme economic inequality, as well as a deterioration of freedom and autonomy in all aspects, such as ● 2012 The Hong Kong government attempted to introduce a highly controversial propaganda campaign, Moral and National Education in elementary and high schools. ● 2014 The Chinese government ruled out open nominations for universal suffrage, a right that was once promised in the Joint Declaration. Citizens responded with a 79-day peaceful occupy movement known as the Umbrella Movement, followed by its failure. ● 2015 A local bookseller Lee Bo went missing from Hong Kong. The Chinese authorities secretly detained him because of selling sensitive publications about Chinese officials. 6 Erin Blakemore and Taryn Salinas, “The History of Hong Kong, Visualized,” National Geographic ​ (National Geographic, August 26, 2019), https://www.nationalgeographic.com/culture/topics/reference/hong-kong-history-visualized/?fbclid=IwA R1-IMfvhkoZW15V2MMsIrYieXZkU0tRNYlC-GXsrPBDDTCS8lKFUUWtq6Q#close. 6 ● 2016-2017 The High Court disqualified six elected pan-democrat and localist members of parliament over their insincere manner in oath-taking. While the extradition bill outraged the citizens, 1.03 million (13.7%) people rallied 7 8 peacefully on June 9th, 2019. It is marked as the recognized outbreak of the ongoing protests. The leaderless protests have since escalated to strikes, occupying movements, boycotts, and more violent responses. As the movement progress, people declared five demands 9 1. Full withdrawal of the extradition bill. 2. A commission of inquiry into alleged police brutality. 3. Retracting the classification of protesters as ‘rioters’. 4. Amnesty for arrested protesters. 5. Dual universal suffrage, meaning for both the Legislative Council and the Chief Executive. Recently, there are more and more voices longing for independence against the state. As a Hongkonger (and a protester), I fear for my safety. I am afraid of losing my rights and dignity. I am scared of being unable to speak the Truth. Nonetheless, fears motivate us (the protesters) to speak, regardless of our hopeless prediction of the future (end). Fears also drive me to create an ongoing performative project in September 2019 that recognizes, displays and preserves protesters’ narratives in Hong Kong. This thesis is a documentation of the project. In the following chapters, I will further explain my Fear, the methodology of research and display, along with a timeline of the protests that I consider as the Truth. Last but not least, I must admit that this work is only telling my perspective. I would highly encourage anyone to understand and construct their Truth with the awareness of the event. 7 According to the census in 2019, the population of Hong Kong is 7.5 million. ​ “Year-End Population for 2019,” The Government of the Hong Kong Special Administrative Region - Press Releases (The Government of the Hong Kong Special Administrative Region, February 18, 2020), https://www.info.gov.hk/gia/general/202002/18/P2020021800331.htm. 8 Based on the opinion of the interviewees. 9 Listen Chen, “The Perils of Imperial Alignment,” Lausan (Lausan, October 17, 2019), ​ https://lausan.hk/2019/the-perils-of-imperial-alignment/.
Recommended publications
  • US-CHINA TRADE WAR Uneasy Truce

    US-CHINA TRADE WAR Uneasy Truce

    Xi Jinping and China’s new era Japan Emperor’s enthronement WeWork’s debacle MCI(P) 087/05/2019 November 2019 INDEPENDENT • INSIDER • INSIGHTS ON ASIA Best New Print Product and Best News Brand in Asia-Pacic, International News Media Association (INMA) Global Media Awards 2019 US-CHINA TRADE WAR Uneasy truce A partial trade deal is on the anvil for the world’s two leading superpowers. Will it be the breakthrough for global trade? Or, will hostilities prevail? WE BRING YOU SINGAPORE AND THE WORLD UP TO DATE IN THE KNOW News | Live blog | Mobile pushes Web specials | Newsletters | Microsites WhatsApp | SMS Special Features IN THE LOOP ON THE WATCH Facebook | Twitter | Instagram Videos | FB live | Live streams To subscribe to the free newsletters, go to str.sg/newsletters All newsletters connect you to stories on our straitstimes.com website. Data Digest Airlines’ emissions rising faster than predicted FLYING FREQUENTLY IS DAMAGING THE trajectory, aviation emissions could roughly environment at a rate far higher than estimated, triple by 2050, by which time aviation emissions says a new report by the United Nations’ might account for 25 per cent of the global carbon International Civil Aviation Organisation (ICAO). budget, it adds. Greenhouse gas emissions from commercial Flights within the Asia-Pacific region emitted aviation totalled 918 million tonnes last year, the largest share of passenger transport-related accounting for 2.4 per cent of global CO2 CO2 at 25 per cent of the global total. The leading emissions from fossil fuel use and a 32 per cent countries in this list are China, Japan, India and increase over the past five years.
  • Education Agency Principal Agent Address City Country Represented

    Education Agency Principal Agent Address City Country Represented

    Education Agency Principal Agent Address City Country Represented AA Education Christine Raisinger Suite 112, 24c Capalaba AUSTRIA Network / Redland Bay Road GERMANY Australien- SWITZERLAND Ausbildung AAS Education Heidi Wong Room 1501, 15/F, Mongkok HONG KONG Consultancy Grand Plaza Office Tower Two, 625 Nathan Road Academic Link Sing Wong Rm 701, 7/F TSIM SHA TSUI HONG KONG Overseas Study Grandmark, 8A-10 Centre Granville Road Access Academic Joshua Tang Rm 1301, Tai Yau WANCHAI HONG KONG Consultancy Building, 181 Limited Johnston Road ACES Flora Chan Suite 801, SBI CENTRAL HONG KONG Centre, 54-58 Des Voeux Road Central, Hong Kong AE&T Le Thi Phuc Ai 121/15 Le Thi Rieng HO CHI MINH CITY VIETNAM Street Ben Thanh Ward AMET Education Yini Reptis PO BOX 371 SUNNYBANK AUSTRALIA TAIWAN BRATISLAVA AOJI (Beijing) Aileen Wang 2-3F,Interchina BEIJING CHINA CHINA Commercial Building,NO.33 Deng Shi Kou Street, Dong Cheng District Assist Well Pty Ltd Chinami Hasegawa PACIFIC PINES JAPAN Austar Group Tory Shi 7/F BM SHANGHAI CHINA Intercontinental Center, No.100 Yutong Road AEC Candy Wong 2205 Office Tower WANCHAI HONG KONG Convention Plaza 1 Harbour Road Australian Anne Stewart 515 Kent Street SYDNEY SOUTH AMERICA Experience Pty Ltd Beijing Eduglobal William Xie 1503, Main GUANGZHOU CHINA Guangdong Tower,Guangdong Branch International Hotel, 339 Huanshidong Lu Beijing JJL Luyi Chen 16F, Building No. 18, BEIJING CHINA Overseas Jianwai SOHO, Education Jianwai Ave., Consulting & Chaoyang District Service Co Ltd Beijing New Nolan WANG Floor 21,Sinosteel BEIJING CHINA Oriental Vision Plaza,No.8 Haidian Overseas Street, Haidian District CETA Andrew Gray 16th Floor, GMM NORTH THAILAND Grammy Place KLONGTOEY, Room B5, WATTANA Sukhumvit 21 Chiao Shun Petra Chiu 8F., No.19, Sec.
  • English/Chinese (Cantonese/Mandarin) Pictionary

    English/Chinese (Cantonese/Mandarin) Pictionary

    Publisher: Chinese Service Center of San Diego Editorial Staff: ጢᒯᙜস Author: Sally Wong-Avery Hound Fong Hom ᜎ؅߀ Layout Design &Typesetter: Chun Lee, Mandy Wong Chun Lee ؄༉ ٺEdwin Lin ഀኅ Printed in the United States of America Yu Mei Naliboff еԥज Simon Shen ؖς҅ Distributed by Chinese Service Center of San Diego 8775 Aero Drive, Suite 138 Quentin Tom ᜎ୾Ꮳ San Diego, CA 92123, USA Sally Wong-Avery ৹ඐ᝙ Tel: (858) 505-9906 Fax: (858) 278-8899 Mandy Wong ༂ច໴ Natasha Wong ༂Ԅࣣ First Edition: October, 2009 ISBN: 978-0-9798874-9-9 Copyright © 2009 by the Chinese Service Center of San Diego, San Diego, USA All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the publisher. Please mail permission requests to: Permission Department, Chinese Service Center of San Diego 8775 Aero Drive, Suite 138 San Diego, CA 92123, USA Preface ⸐妁 The purpose of this pictionary (picture/dictionary) book is to provide the reader with a quick reference guide that associates a picture with the common word or phrase. The book combines English, Cantonese/Jyutaping (traditional Chinese characters), Mandarin/Zhuyin (traditional Chinese characters) and Putonghua/Pinyin (simplified Chinese characters). This pictionary book is a resource for everyday vocabulary words which creates an easy glimpse for visual association. This book also serves as supplemental material for the Chinese classroom and helps students learn different Chinese dialects. The topics are organized in individual chapters.
  • Surrounded by Slogans Perpetual Protest in Public Space During the Hong Kong 2019 Protests

    Surrounded by Slogans Perpetual Protest in Public Space During the Hong Kong 2019 Protests

    12 Spaces of perpetual protest The breakdown of ‘normal’; continuously The Study reacting to and accommodating the protests Surrounded by slogans Perpetual protest in public space during the Hong Kong 2019 protests Milan Ismangil On the way to the metro, I walk past graffiti and posters asking me to be conscious and supportive of the protests. In the metro itself footage of protesters is shown on the many television screens.1 Public space in Hong Kong can no longer be neutral, it seems. The protests in Hong Kong are entering their fifth month at the time of writing. Originally demanding the withdrawal of a controversial extradition bill, they quickly transformed into a larger cry for accountability of those in power, with universal suffrage and an independent investigation into police brutality amongst the five main demands. The Lennon Walls 2 that have popped up all over Hong Kong and other places across the world are home to post-its, posters and various other visual media, put there by anyone wishing to Fig. 1 (above): express their support for the movement. In this The ‘Lennon Bridge’ in Tai Wo Hau. article I discuss the transformation of Hong Fig. 2 (left): Kong’s public areas into spaces of perpetual Remembering the movement near Wong protest. Tai Sin temple. Fig. 3 (below): Appeals to history and memory at the Chinese t is nearly impossible to walk anywhere the attacks on protesters by assailants with University of Hong Kong. in Hong Kong today without encountering knives on 21 July 2019, and the second to Fig.
  • Downloaded License

    Downloaded License

    international journal of taiwan studies 3 (2020) 343-361 brill.com/ijts Review Essay ∵ Review of the Exhibition Oppression and Overcoming: Social Movements in Post-War Taiwan, National Museum of Taiwan History, 28 May 2019–17 May 2020 Susan Shih Chang Department of Communications and New Media, National University of Singapore, Singapore [email protected] Jeremy Huai-Che Chiang Department of Politics and International Studies, University of Cambridge, Cambridge, United Kingdom [email protected] Abstract This review article looks at “Oppression and Overcoming: Social Movements in Post- War Taiwan” (2019.5.28–2020.5.17), an exhibition at the National Museum of Taiwan History (nthm) through approaches of museum studies and social movement studies, and aims to understand its implication for doing Taiwan Studies. This review con- cludes that “Oppression and Overcoming” is significant as a novel museological prac- tice by being part of a continuation of social movements, which transformed the mu- seum to a space for civil participation and dialogue. This allows the exhibition to become a window for both citizens and foreigners to understand and realize Taiwan’s vibrant democracy and civil society. In addition, this review suggests that future © SUSAN SHIH CHANG AND JEREMY HUAI-CHE CHIANG, 2020 | doi:10.1163/24688800-00302009 This is an open access article distributed under the terms of the CC-BY 4.0Downloaded license. from Brill.com09/24/2021 07:47:53AM via free access <UN> 344 Chang and Chiang exhibitions on social movements could demonstrate the possibility to position Taiwan in a global context to better connect with other countries in the Asian region.
  • In Hong Kong Restrictions on Rights to Peaceful Assembly and Freedom of Expression and Association

    In Hong Kong Restrictions on Rights to Peaceful Assembly and Freedom of Expression and Association

    BEIJING’S “RED LINE” IN HONG KONG RESTRICTIONS ON RIGHTS TO PEACEFUL ASSEMBLY AND FREEDOM OF EXPRESSION AND ASSOCIATION Amnesty International is a global movement of more than 7 million people who campaign for a world where human rights are enjoyed by all. Our vision is for every person to enjoy all the rights enshrined in the Universal Declaration of Human Rights and other international human rights standards. We are independent of any government, political ideology, economic interest or religion and are funded mainly by our membership and public donations. © Amnesty International 2019 Cover photo: An estimated 1.03 million people in Hong Kong took to the streets to protest the Extradition Except where otherwise noted, content in this document is licensed under a Creative Commons Bill on 9 June 2019. (Photo credit: Amnesty International) (attribution, non-commercial, no derivatives, international 4.0) licence. https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode For more information please visit the permissions page on our website: www.amnesty.org Where material is attributed to a copyright owner other than Amnesty International this material is not subject to the Creative Commons licence. First published in 2019 by Amnesty International Ltd Peter Benenson House, 1 Easton Street London WC1X 0DW, UK Index: ASA 17/0944/2019 Original language: English amnesty.org CONTENTS CONTENTS 3 EXECUTIVE SUMMARY 5 1. BEIJING’S “RED LINE” IN HONG KONG 8 1.1 THE SINO-BRITISH JOINT DECLARATION AND THE BASIC LAW 8 1.2 NATIONAL SECURITY LEGISLATION 9 1.3 THE WHITE PAPER ON “ONE COUNTRY, TWO SYSTEMS” 10 2.
  • Chapter 6 Hong Kong

    Chapter 6 Hong Kong

    CHAPTER 6 HONG KONG Key Findings • The Hong Kong government’s proposal of a bill that would allow for extraditions to mainland China sparked the territory’s worst political crisis since its 1997 handover to the Mainland from the United Kingdom. China’s encroachment on Hong Kong’s auton- omy and its suppression of prodemocracy voices in recent years have fueled opposition, with many protesters now seeing the current demonstrations as Hong Kong’s last stand to preserve its freedoms. Protesters voiced five demands: (1) formal with- drawal of the bill; (2) establishing an independent inquiry into police brutality; (3) removing the designation of the protests as “riots;” (4) releasing all those arrested during the movement; and (5) instituting universal suffrage. • After unprecedented protests against the extradition bill, Hong Kong Chief Executive Carrie Lam suspended the measure in June 2019, dealing a blow to Beijing which had backed the legislation and crippling her political agenda. Her promise in September to formally withdraw the bill came after months of protests and escalation by the Hong Kong police seeking to quell demonstrations. The Hong Kong police used increasingly aggressive tactics against protesters, resulting in calls for an independent inquiry into police abuses. • Despite millions of demonstrators—spanning ages, religions, and professions—taking to the streets in largely peaceful pro- test, the Lam Administration continues to align itself with Bei- jing and only conceded to one of the five protester demands. In an attempt to conflate the bolder actions of a few with the largely peaceful protests, Chinese officials have compared the movement to “terrorism” and a “color revolution,” and have im- plicitly threatened to deploy its security forces from outside Hong Kong to suppress the demonstrations.
  • Convergence of the Practices of Documentary and Contemporary Art in Hong Kong: Autoethnographic Works of Tang Kwok Hin and Law Yuk Mui

    Convergence of the Practices of Documentary and Contemporary Art in Hong Kong: Autoethnographic Works of Tang Kwok Hin and Law Yuk Mui

    REPORT CONVERGENCE OF THE PRACTICES OF DOCUMENTARY AND CONTEMPORARY ART IN HONG KONG: AUTOETHNOGRAPHIC WORKS OF TANG KWOK HIN AND LAW YUK MUI Hoi Shan Anson Mak, Hong Kong Baptist University ABSTRACT This article is part of a research project funded by the University Grants Committee, Hong Kong. The project title is ‘Convergence of Documentary Practices in Contemporary Arts in Hong Kong’. We collected 230 artworks from 31 artists/artist groups for textual analysis. Twelve artists were selected for a focus study and interviews. Eleven short edited interviews with English subtitles, together with information on the artworks and artists, are freely available online to anyone, especially researchers and teachers, interested in using the materials for their own projects. There are also artworks (with artists’ permission) that go with artists interview, hence audience can better comprehend when artists referring to their artworks. URL: https://docuarthk.wixsite.com/research/artists-n-z Among many findings, autoethnography is shown to anchor an interesting point of intersection across disciplines. This article explores autoethnography, originally applied as a qualitative research method, echoes with the practices in reflexive documentary and the ways being used by contemporary visual artists in Hong Kong. This writing examines autoethnographic artworks by Tang Kwok Hin and Law Yuk Mui regarding notion of homes and relational autoethnographic subjectivities. KEYWORDS Autoethnography, Home, Hong Kong Contemporary Arts, Experimental Ethnography BIO Anson Mak is a researcher-artists, specialized in moving image and sound. She currently works as Associate Professor in Academy of Visual Arts in Hong Kong Baptist University, Hong Kong. She is especially interested in experimental ethnography and manipulation of super 8 film in the digital era.
  • Creative Arts Space in Hong Kong: Three Tales Through the Lens of Cultural Capital

    Creative Arts Space in Hong Kong: Three Tales Through the Lens of Cultural Capital

    c Creative Arts Space in Hong Kong: Three Tales through the lens of Cultural Capital Hoi Ling Anne CHAN (0000-0002-8356-8069) A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy In Faculty of Architecture, Building and Planning University of Melbourne February 2019 [Intended to leave blank] i Abstract The fact that culture and creativity are often instrumentalised in urban regeneration and/or development points to a pragmatic relationship between culture and the city. Hong Kong, like many post-colonial and post-industrial cities, faced challenges in economic restructuring and in the search of a new identity. Thus, culture came to the centre of the stage in the formulation of development strategies and started to accumulate cultural assets. The accumulation of cultural assets led to the emergence of various forms of cultural assets such as cultural district, infrastructure, projects in order to achieve various aims. However, most of the existing research focused on large-scale flagship projects from an economic or strategic perspective. A holistic understanding of those cultural projects is limited in the literature especially for the small-scale cultural projects. This research examines how the creative arts spaces interact with the host city, Hong Kong through the lens of cultural capital. Three creative arts spaces with different management models are chosen as case studies. Data were collected through field investigation and key informant interviews as well as from secondary sources such as archives and media. The data collected are analysed by executing thematic analysis procedures. The findings reveal that creative arts spaces are different from large-scale flagship projects in their relations to cities.
  • Reddening Or Reckoning​?

    Reddening Or Reckoning​?

    Reddening or Reckoning​? An Essay on China’s Shadow on Hong Kong Media 22 Years after Handover from British Rule Stuart Lau Journalist Fellow 2018 Reuters Institute for the Study of Journalism University of Oxford August 2019 CONTENTS 1. Preface 2 2. From top to bottom: the downfall of a TV station 4 3. Money, Power, Media 10 4. “Political correctness”: New normal for media 20 5. From the Big Brother: “We are watching you” 23 6. Way forward - Is objective journalism still what Hong Kong needs? 27 1 Preface Hong Kong journalists have always stood on the front line of reporting China, a country that exercises an authoritarian system of government but is nonetheless on track to global economic prominence. The often-overlooked role of Hong Kong journalists, though, has gained international attention in summer 2019, when weeks of citywide protests has viralled into the largest-scale public opposition movement ever in the city’s 22-year history as a postcolonial political entity under Chinese sovereignty, forcing the Hong Kong government into accepting defeat over the hugely controversial extradition bill. While much can be said about the admirable professionalism of Hong Kong’s frontline journalists including reporters, photojournalists and video journalists, most of whom not having received the level of warzone-like training required amid the police’s unprecedentedly massive use of potentially lethal weapons, this essay seeks to examine something less visible and less discussed by international media and academia: the extent to which China influences Hong Kong’s media organisations, either directly or indirectly. The issue is important on three levels.
  • Summary of Complaints Dealt with by the Broadcasting Authority (2000 - 2002)

    Summary of Complaints Dealt with by the Broadcasting Authority (2000 - 2002)

    CB(1)2197/02-03(01) Summary of Complaints Dealt With by the Broadcasting Authority (2000 - 2002) 1. Advice 1.1 Complaint Cases Related to Programmes Broadcast Programme Title Channel Contravention Date 29.11.1999 The Simpsons ATV World The crude language used in the programme was generally unacceptable for broadcast in the family viewing hours. 29.8.2001 Enlightenment Of Who ATV Home The programme provided an incorrect answer Wants To Be A to a question on the meaning of the three- Millionaire asterisks on the Hong Kong Identity Card of an adult. 8-10.10.2001 Broadcast of Teloped ATV Home The repeated and continuous rolling of teloped Message messages not related to the programmes in which they were screened would disrupt viewing pleasure. 6.8.2002 Meteor Garden ATV Home The end credits of the programme contained a sponsor's name which was a foul expression unacceptable for broadcast. 3.11.2002 Cultural Roots Of ATV Home The footage which described in detail the Hong Kong methods of raising a ghost child was unnerving to children and was not suitable for broadcast during the family viewing hours. 8.5.2000 J.S.G. Song Video TVB Jade The music video portrayed a dangerous act Corner which might invite imitation by children, and should not be broadcast within the family viewing hours. 9.6.2000 My Father My Hero TVB Pearl Cantonese instead of English, which was the designated language of TVB Pearl, was transmitted on the conventional sound channel for about four minutes. 14.6.2000 Mojacko TVB Jade The animation was a children’s programme which failed to convey a clear message to children viewers that gambling was undesirable.
  • China Dreams 梦

    China Dreams 梦

    CHINA DREAMS 梦 EDITED BY Jane Golley, Linda Jaivin Ben Hillman, WITH Sharon Strange C HINA S TORY YEARBOOK : C HINA D REAM S Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (print): 9781760463731 ISBN (online): 9781760463748 WorldCat (print): 1145684061 WorldCat (online): 1145684091 DOI: 10.22459/CSY.2020 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/ legalcode Design concept by Markuz Wernli; ‘Power’ cover design and chapter openers by CRE8IVE Typesetting by Chin-Jie Melodie Liu and Sharon Strange; copyediting by Jan Borrie Printed by Union Offset Printers, Canberra, Australia The Australian Centre on China in the World is an initiative of the Commonwealth Government of Australia and The Australian National University This edition © 2020 ANU Press 揭秘错综时事蓄 美梦 民族伟大复兴之梦对中国与世界民众而言为何种图景因编辑婴儿事件续镇压维吾尔族群倡导中国公民应在国际场合﹃维护国家荣誉﹄压破碎学生运动三十周年整庆祝中华人民共和国成立七十周年弘扬革命与国家富强之梦2019 ， 多元视角呈现政经文化与人文社会之一脉相连、 。 泡影 2019年 、 ， 凌云壮志与梦魇于中外大地上相吸相斥之画卷 为中国在全球日渐隆盛势力与影响提供解惑之匙， 拓展南极与称霸太空的雄心亦甚嚣尘上、 有鉴于此 日益恶化中美关系成为媒体焦点， ， 各领风骚年中国恰逢几个划时代意义的周年纪念日 几多旧﹃梦﹄重回民主与言论自由在凌晨的梦乡中被政府的安定团结之梦碾 ， 。 ︽中国故事年鉴 五四运动百年祭重温爱国情怀与文化革新之梦 ， 粉墨登场 。 ： 香港暴力抗争风起云涌 梦︾钩沉是年重大事件 。 ， 。 。 本年鉴以浅显易懂的笔触一时庙堂江湖舆情四起人工智能的突飞猛进与基习近平主席权倾天下 。 ; 习近平脑海中的中华 。 并一如既往兼容并 是年亦距1989， 。 新旧﹃中国梦﹄ 、 ， 新疆持 展示 ， 。 并 ; Translation by Yayun Zhu and Annie Luman Ren Contents INTRODUCTION viii . Dream On · JANE GOLLEY, BEN HILLMAN, and LINDA JAIVIN xviii . Acknowledgements xviii . The Cover Image FORUM · ILLUSIONS AND TRANSFORMATIONS: THE MANY MEANINGS OF MENG 夢 5 . From the Land of Illusion to the Paradise of Truth · ANNIE LUMAN REN . 11 Zhuangzi and His Butterfly Dream: The Etymology ofMeng 夢 · JINGJING CHEN CHAPTER 1 .