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Changing Political Economy of the Hong Kong Media
China Perspectives 2018/3 | 2018 Twenty Years After: Hong Kong's Changes and Challenges under China's Rule Changing Political Economy of the Hong Kong Media Francis L. F. Lee Electronic version URL: https://journals.openedition.org/chinaperspectives/8009 DOI: 10.4000/chinaperspectives.8009 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 September 2018 Number of pages: 9-18 ISSN: 2070-3449 Electronic reference Francis L. F. Lee, “Changing Political Economy of the Hong Kong Media”, China Perspectives [Online], 2018/3 | 2018, Online since 01 September 2018, connection on 21 September 2021. URL: http:// journals.openedition.org/chinaperspectives/8009 ; DOI: https://doi.org/10.4000/chinaperspectives. 8009 © All rights reserved Special feature China perspectives Changing Political Economy of the Hong Kong Media FRANCIS L. F. LEE ABSTRACT: Most observers argued that press freedom in Hong Kong has been declining continually over the past 15 years. This article examines the problem of press freedom from the perspective of the political economy of the media. According to conventional understanding, the Chinese government has exerted indirect influence over the Hong Kong media through co-opting media owners, most of whom were entrepreneurs with ample business interests in the mainland. At the same time, there were internal tensions within the political economic system. The latter opened up a space of resistance for media practitioners and thus helped the media system as a whole to maintain a degree of relative autonomy from the power centre. However, into the 2010s, the media landscape has undergone several significant changes, especially the worsening media business environment and the growth of digital media technologies. -
Icons, Culture and Collective Identity of Postwar Hong Kong
Intercultural Communication Studies XXII: 1 (2013) R. MAK & C. CHAN Icons, Culture and Collective Identity of Postwar Hong Kong Ricardo K. S. MAK & Catherine S. CHAN Hong Kong Baptist University, Hong Kong S.A.R., China Abstract: Icons, which take the form of images, artifacts, landmarks, or fictional figures, represent mounds of meaning stuck in the collective unconsciousness of different communities. Icons are shortcuts to values, identity or feelings that their users collectively share and treasure. Through the concrete identification and analysis of icons of post-war Hong Kong, this paper attempts to highlight not only Hong Kong people’s changing collective needs and mental or material hunger, but also their continuous search for identity. Keywords: Icons, Hong Kong, Hong Kong Chinese, 1997, values, identity, lifestyle, business, popular culture, fusion, hybridity, colonialism, economic takeoff, consumerism, show business 1. Introduction: Telling Hong Kong’s Story through Icons It seems easy to tell the story of post-war Hong Kong. If merely delineating the sky-high synopsis of the city, the ups and downs, high highs and low lows are at once evidently remarkable: a collective struggle for survival in the post-war years, tremendous social instability in the 1960s, industrial take-off in the 1970s, a growth in economic confidence and cultural arrogance in the 1980s and a rich cultural upheaval in search of locality before the handover. The early 21st century might as well sum up the development of Hong Kong, whose history is long yet surprisingly short- propelled by capitalism, gnawing away at globalization and living off its elastic schizophrenia. -
Official Record of Proceedings
LEGISLATIVE COUNCIL ─ 3 November 2010 1399 OFFICIAL RECORD OF PROCEEDINGS Wednesday, 3 November 2010 The Council met at Eleven o'clock MEMBERS PRESENT: THE PRESIDENT THE HONOURABLE JASPER TSANG YOK-SING, G.B.S., J.P. THE HONOURABLE ALBERT HO CHUN-YAN IR DR THE HONOURABLE RAYMOND HO CHUNG-TAI, S.B.S., S.B.ST.J., J.P. THE HONOURABLE LEE CHEUK-YAN DR THE HONOURABLE DAVID LI KWOK-PO, G.B.M., G.B.S., J.P. THE HONOURABLE FRED LI WAH-MING, S.B.S., J.P. DR THE HONOURABLE MARGARET NG THE HONOURABLE JAMES TO KUN-SUN THE HONOURABLE CHEUNG MAN-KWONG THE HONOURABLE CHAN KAM-LAM, S.B.S., J.P. THE HONOURABLE MRS SOPHIE LEUNG LAU YAU-FUN, G.B.S., J.P. THE HONOURABLE LEUNG YIU-CHUNG DR THE HONOURABLE PHILIP WONG YU-HONG, G.B.S. 1400 LEGISLATIVE COUNCIL ─ 3 November 2010 THE HONOURABLE WONG YUNG-KAN, S.B.S., J.P. THE HONOURABLE LAU KONG-WAH, J.P. THE HONOURABLE LAU WONG-FAT, G.B.M., G.B.S., J.P. THE HONOURABLE MIRIAM LAU KIN-YEE, G.B.S., J.P. THE HONOURABLE EMILY LAU WAI-HING, J.P. THE HONOURABLE ANDREW CHENG KAR-FOO THE HONOURABLE TIMOTHY FOK TSUN-TING, G.B.S., J.P. THE HONOURABLE TAM YIU-CHUNG, G.B.S., J.P. THE HONOURABLE ABRAHAM SHEK LAI-HIM, S.B.S., J.P. THE HONOURABLE LI FUNG-YING, S.B.S., J.P. THE HONOURABLE TOMMY CHEUNG YU-YAN, S.B.S., J.P. THE HONOURABLE FREDERICK FUNG KIN-KEE, S.B.S., J.P. -
Changing Political Economy of the Hong Kong Media
Special feature China perspectives Changing Political Economy of the Hong Kong Media FRANCIS L. F. LEE ABSTRACT: Most observers argued that press freedom in Hong Kong has been declining continually over the past 15 years. This article examines the problem of press freedom from the perspective of the political economy of the media. According to conventional understanding, the Chinese government has exerted indirect influence over the Hong Kong media through co-opting media owners, most of whom were entrepreneurs with ample business interests in the mainland. At the same time, there were internal tensions within the political economic system. The latter opened up a space of resistance for media practitioners and thus helped the media system as a whole to maintain a degree of relative autonomy from the power centre. However, into the 2010s, the media landscape has undergone several significant changes, especially the worsening media business environment and the growth of digital media technologies. These changes have affected the cost-benefit calculations of media ownership and led to the entrance of Chinese capital into the Hong Kong media scene. The digital media arena is also facing the challenge of intrusion by the state. KEYWORDS: press freedom, political economy, self-censorship, digital media, media business, Hong Kong. wo decades after the handover, many observers, academics, and jour- part follows past scholarship to outline the ownership structure of the Hong nalists would agree that press freedom in Hong Kong has declined over Kong media system, while noting how several counteracting forces have Ttime. The titles of the annual reports by the Hong Kong Journalists As- prevented the media from succumbing totally to political power. -
Progovernment Online Media and Public Opinion in Hong Kong
International Journal of Communication 15(2021), 3397–3417 1932–8036/20210005 Countering the Counterpublics: Progovernment Online Media and Public Opinion in Hong Kong FRANCIS L. F. LEE Chinese University of Hong Kong, People’s Republic of China Many studies have illustrated how digital media can facilitate political criticisms and protests, but recent scholarship has noted the ability of authoritarian states to control the Internet and undermine its oppositional character. This study focuses on the “hybrid regime” of Hong Kong, where the progovernment forces have tried to counteract the formation of an online counterpublic sphere by setting up numerous online outposts since the mid-2010s. It examines how exposure to progovernment online media content is related to political attitudes. In addition to a direct relationship, drawing on inoculation theory, this article contends that progovernment online media may also consolidate support for the government by neutralizing the influence of online alternative media. Survey data analysis shows that exposure to progovernment online media content indeed related to more conservative views, and the connection between online alternative media use and prodemocracy attitudes was weaker among older citizens regularly exposed to progovernment online media. Keywords: Internet control, hybrid regime, progovernment media, alternative media, inoculation Since the 2000s and the early 2010s, political communication researchers have paid much attention to the role played by digital and social media in many large-scale protests around the world (Bennett & Segerberg, 2013; Tufekci, 2017). Digital media have seemingly become the platforms and tools for the communication of critical viewpoints, generation of oppositional consciousness, maintenance of protest networks, and mobilization for and coordination of actions. -
The Water Tales of Hong Kong and Singapore: Divergent Approaches to Water Dependency
Liquid Assets V: The Water Tales of Hong Kong and Singapore: Divergent Approaches to Water Dependency Su Liu Jessica Williams January 2014 About Civic Exchange Civic Exchange is a Hong Kong-based non-profit public policy think tank that was established in 2000. It is an independent organisation that has access to policy makers, officials, businesses, media and NGOs – reaching across sectors and borders. Civic Exchange has solid research experience in areas such as air quality, energy, urban planning, climate change, conservation, water, governance, political development, equal opportunities, poverty and gender. For more information about Civic Exchange, visit www.civic-exchange.org. About the Authors Su Liu is Head of Great China & Water Policy Research of Civic Exchange. Her work in Civic Exchange covers mainly water related policy research and China related project coordination. Su has produced several water policy reports, including; Liquid Assets II, Industrial Relocation in Guangdong Province, Liquid Assets IIIA, Dongjiang Overloaded, Liquid Assets IIIB, A Photographic report of the Dongjiang Expedition and Liquid Assets IV Hong Kong’s Water Resources Management under “One Country, Two Systems”. Su was a former public opinion researcher (Deputy Managing Director of the Gallup Organisation Hong Kong), and a communication strategist (Deputy Managing Director of Wirthlin Worldwide Asia). Jessica Williams grew up and lives in Hong Kong. She completed her MSc in International Relations at Cardiff University and has a BA in law from Exeter University. For her Master’s thesis, Jessica researched and assessed China’s water policies and their international implications. Her research is primarily focused on Asian water security, particularly on China’s water situation and national and international implications this will have. -
Curriculum Vitae Bell Yung Professor of Music University of Pittsburgh (January 2011)
Bell Yung’s CV 1 Curriculum Vitae Bell Yung Professor of Music University of Pittsburgh (January 2011) Home Address 504 N. Neville St., Pittsburgh, PA 15213 Tel: (412) 681-1643 Office Address Room 206, Music Building University of Pittsburgh, Pittsburgh, PA 15260 Tel: (412) 624-4061; Fax: (412) 624-4186 e-mail: [email protected] Education Ph.D. in Music, Harvard University, 1976 Ph.D. in Physics, Massachusetts Institute of Technology, 1970 B.Sc. in Engineering Physics, University of California, Berkeley, 1964 Piano performance with Kyriana Siloti, 1967-69 Piano pedagogy at Boston University Summer School at Tanglewood, 1967 Performance studies of various instruments in the Javanese gamelan ensemble, particularly on gender barung (metal xylophone) with Pak Djokowaluya, Yogyakarta, summer 1983. Performance studies of various Chinese instruments; in particular qin (seven-string zither) with Masters Tsar Teh-yun of Hong Kong, from 1978 on, and Yao Bingyan of Shanghai, summer of 1980, 81, 82. Academic Employment University of Pittsburgh Professor of Music, 1994 (On leave 1996-98, and on leave half time 98-02) Associate Professor of Music, 1987 Assistant Professor of Music, 1981 University of Hong Kong Kwan Fong Chair in Chinese Music, University of Hong Kong, 1998.2 – 2002.7. Reader in Music, University of Hong Kong, 1996.8-1998.2 (From February 1998 to 2002, I held joint appointments at the University of Pittsburgh and the University of Hong Kong, teaching one term a year at each institution.) University of California at Davis, Visiting Associate -
How the Lion Rock Was Tempered: Early RTHK Dramas, Social Bonding, and Post-1967-Crisis Governance
Fall Symposium on Digital Scholarship 2020 @HKBU October 20, 2020 via Zoom How the Lion Rock Was Tempered: Early RTHK Dramas, Social Bonding, and Post-1967-Crisis Governance Dr. Kwok Kwan Kenny NG Associate Professor, Academy of Film, Hong Kong Baptist University Joy Kam Research Assistant Digital Database: TV Week magazine and movie scripts (1967-1997) Television Viewing Habit, Experience, and Community • Viewing time and viewing ritual • Household and publicness • Moral and social values (‘soft propaganda’) • Hong Kong’s economic takeoff in the 1970s and early 1980s “The shared experience amongst virtually the entire population enjoying the same television programs every day contributed a great deal to the creation of a unified cultural identity for the populace” (Kai-cheung Chan and Po-king Choi) Television in Hong Kong (Karin Gwinn Wilkins) • Commercial factors more than the political, social, or cultural • Laissez-faire; favor private enterprises and free trade • Apolitical and market-driven • Perpetuating a sense of local Hong Kong identity (at times with a larger Chinese community) Commercial Market vs. Public Service (Mark Hampton) • Government unconcerned with television’s cultural potential • Uninterested to promote British values • Not adopting a public service approach • Yet, after the 1967 riots, “the Government took a stronger hand in television, both for directly propagandistic purposes and to regulate it in response to public demands" in order to bridge “the communication ‘gap’ that had apparently developed between the government and people” How could public TV programs promote communication and legitimacy of governance? Lion Rock in the 1970s. Photo credit: Housing Authority Lion Rock in the 2010s. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
22Nd August 2021 the Twelfth Sunday After Trinity
‘St John’s Cathedral is a place of God’s grace, welcoming all, following Christ and changing lives in the heart of Hong Kong.’ 22ND AUGUST 2021 THE TWELFTH SUNDAY AFTER TRINITY 8.00am Said Eucharist Celebrant and Preacher: The Revd Canon Dwight dela Torre Reader: James Choo 9.00am Sung Eucharist Celebrant: The Dean Preacher: The Revd John Chynchen Deacon: The Revd Amos Poon Communion Setting: St Martin’s Mass (David Bednall) Hymns: 434, 339 (omit v.3), Count, thou fount of every blessing, 453 Anthem: Ego sum panis vivus (William Byrd) Voluntary: A Fancy for Voluntary in D minor (Orlando Gibbons) Reader/Intercessor: Mary Szeto/Kevin She 10.30am Sung Eucharist (in Mandarin) Celebrant: The Revd Amos Poon Preacher: The Revd Canon Peter Koon 11.45am Responsorial Eucharist—Provincial (Rite II) Celebrant: The Dean Preacher: The Revd Sharon Langbis Reader/Intercessor: Karmen Kar/Daniel Kong 1.30pm Sung Eucharist (in Filipino) Celebrant and Preacher: The Revd Sharon Langbis 5.00pm Evening Prayer in Taizé style Officiant: The Revd Sharon Langbis Meditation: The Revd Robert Martin Reader: T Y Wong THIS WEEK AT ST JOHN’S CATHEDRAL MON 23rd August 8.00am Said Eucharist 12.30pm Meditation Group 1.00pm One o’clock Prayer TUE 24th 8.00am Said Eucharist 1.00pm One o’clock Prayer 7.00pm Bible Reading Fellowship (ZOOM/in person) WED 25th 8.00am Said Eucharist 1.00pm One o’clock Prayer 2.30pm Bible Reading Prayer Fellowship (Chinese) (ZOOM/in person) 6.00pm Said Eucharist THU 26th 8.00am Said Eucharist 1.00pm One o’clock Prayer 1.15pm Said Eucharist FRI -
The Chinese Film Industry: Features and Trends, 2010-2016
THE CHINESE FILM INDUSTRY: FEATURES AND TRENDS, 2010-2016 Jinuo Diao A Thesis Submitted for the Degree of PhD at the University of St Andrews 2020 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/19497 This item is protected by original copyright The Chinese Film Industry: Features and Trends, 2010-2016 Jinuo Diao This thesis is submitted in partial fulfilment for the degree of Doctor of Philosophy (PhD) at the University of St Andrews December 2019 Candidate's declaration I, Jinuo Diao, do hereby certify that this thesis, submitted for the degree of PhD, which is approximately 80,000 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for any degree. I was admitted as a research student at the University of St Andrews in September 2015. I received funding from an organisation or institution and have acknowledged the funder(s) in the full text of my thesis. Date 18 December 2019 Signature of candidate Supervisor's declaration I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
Hong Kong Cantopop
Hong Kong Cantopop A Concise History Yiu-Wai Chu Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-57-1 (Hardback) ISBN 978-988-8390-58-8 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Hang Tai Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii A Note on Romanization x Chapter One Introduction 1 Chapter Two Days of Being Marginalized: The 1950s to the Early 1970s 21 Chapter Three The Rise of Cantopop: The Mid- to Late 1970s 40 Chapter Four An Age of Glory: The 1980s 69 Chapter Five The Best of Times, the Worst of Times: The 1990s 105 Chapter Six After the Fall: The New Millennium 145 Chapter Seven Epilogue: Cantopop in the Age of China 184 Appendix Chronology of Major Events 197 Selected Bibliography 218 Index 226 1 Introduction “Every generation has its own voice,” claimed James Wong 黃霑, the late god- father of Cantopop, in his doctoral thesis on the development of Cantopop.1 The English term “Cantopop”—Cantonese popular songs—did not come into existence until the 1970s, when Billboard correspondent Hans Ebert used it “to describe the locally produced popular music in Hong Kong” in 1978.2 Per James Wong’s remark—which was adapted from the well-known saying of the Qing dynasty master of Chinese culture, Wang Guowei 王國維: “Every dynasty has its own representative form of literature”3 —Cantopop is a musical form from and the voice of contemporary Hong Kong.