qDoes 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.q-Laikwan Pang, The Chinese University of Hong Kong qA 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.q-Law Wing Sang, Lingnan University Hong Kong as a world city draws on a rich variety of foundational qtextsq in film, fiction, architecture and other forms of visual culture. The city has been a cultural fault-line for centuries A¹ a translation space where Chinese-ness is interpreted for qWesternersq 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.Alan Mak struggles with claiming and denying The Departed as his film, and Scorsese wrestles with a similar problem in being unable to accept the fact that he won an Oscar for a remake ... Scorsese did not dance around the issue ... The film has been proven feasible to bring to the screen and already has a box-office track record. Adapted plays, novels or original screenplays cannot make these claims.
|Title||:||Hong Kong Culture|
|Publisher||:||Hong Kong University Press - 2010-06-01|