BECOMING HONG KONG,RAZING BAOAN,PRESERVING XIN'AN: AN ETHNOGRAPHIC ACCOUNT OF URBANIZATION IN THE SHENZHEN SPECIAL ECONOMIC ZONE

Located just north of Hong Kong, Shenzhen, the largest and oldest of China's Special Economic Zone (SEZ) has been both a project and symbol of post-Mao modernization. In this paper, I trace how the Shenzhen built environment mediates images and experiences of ‘Hong Kong’, arguing that transnationality in the SEZ is an everyday practice where tradition, colonialism, and the Cold War provide raw materials for the local reworking of the changing relationship between the Chinese state apparatus and finance capital. My story has a double focus: the ideology of urbanization as modernization and historic preservation. On the one hand, the ideology of urbanization-as-modernization legitimates a spatial order in which the rural is always posed to be superseded by the urban. Both the rural and the urban are empty signifiers that are created through comparison and deployed to guide action. In this important sense,‘Hong Kong’ has been urban with respect to rural ‘Shenzhen’ (formerly Baoan County), even as ‘Shenzhen’ has been urban with respect to the Chinese hinterland (neidi). On the other hand, historic preservation domesticates ‘Hong Kong’ as Shenzhen's past through the figure of Xin'an County, the geographic predecessor of both Shenzhen and Hong Kong. These complimentary displacements produce a nostalgia peculiar to the SEZ: a desire for a past that entitles contemporary Shenzhen residents to Hong Kong's prosperity. This nostalgia is structured with reference to a shared origin - Xin'an County - where Hong Kong's postwar history (1950–1979) becomes the past that Shenzhen (rural Baoan) would have had, if not for a cruel twist of socialist fate.     

The Imperial and Transpacific Origins of Chinese Capitalism

This article restores early colonial Hong Kong to a key role in the history of capitalism and the integration of the Pacific. It argues that in the 1840s Hong Kong became the first identifiably capitalist Chinese society and a nexus between the China coast and both the expanding British and US imperial systems. It first demonstrates how Hong Kong's colonial regime swiftly re‐structured the island's social‐property relations and scaffolded its residents toward the ceaseless accumulation of capital. It then examines how this nascent node of Chinese capitalism integrated with the westward expansion of American capitalism amid the California Gold Rush and concludes by analyzing how Hong Kong's transpacific networks facilitated the expansion of capitalist systems into late nineteenth‐century China, most especially Shanghai.     

FIGURES OF HOPE AND THE FILMIC IMAGINARY OF JIANGHU IN CONTEMPORARY HONG KONG CINEMA

Through an extensive allegorical reading of films, this paper attempts to capture a certain cultural form of imagination in Hong Kong during the transitional period leading up to the historical handover of power in 1997. Dwelling on the world of signification conjured up through what I call the jianghu filmic imaginary,the analysis focuses on the ideological and utopian impulses registered in relation to a whole emotional complex of anxiety, bewilderment and despair in the works of some highly creative local filmmakers of the genre: Ching Siu-Tong, Ann Hui, Tsui Hark and Wong KarWai. The study draws theoretically from Castoriadis's notion of the social imaginary and Bloch's aesthetics of hope, to focus on the textual and contextual re-constructions of a number of very unconventional martial arts swordplay (wuxia) films made in Hong Kong in the last two decades: namely, Tsui's Butterfly Murders (1979), Hui's Romance of Book and Sword (1987), Ching/Tsui's Swordsman II (1992), and Wong's Ashes of Time (1994). By identifying the ideological and affective moments in the filmic imaginary,I want to trace what has been left in a ruined culture for utopian longings, and point to the presence/absence of ‘hope’ as the cultural imagination for an unknown and unknowable future (beyond 1997). It is my contention that an understanding of that peculiar form of popular imaginary at the unusual juncture of Hong Kong's history can begin with a critical attempt to cope with this subtle practice of hope, so as to recognize (or reject) it as mediation in the process of our collective cultural crisis, anticipation and identification.     

CINEMA 3: TOWARDS A 'MINOR HONG KONG CINEMA'

This article canvasses the way Hong Kong cinema became modern, at the moment and the place when/where it had to come up with new cinematic images in response to new geo-historical situations. I call it a ‘minor Hong Kong cinema’ in the sense that it is a cinema that deterritorializes within the heart of what is considered major. This minor cinema is not at all just a cinema at the margin. It is rather a strategy to conceptualize and develop certain suggestive examples in order to respond to specific geo-historical situations. While this minor cinema cannot represent the whole of Hong Kong cinema, it also highlights the potentialities of Hong Kong cinema that cannot be covered by dominant discourses on Hong Kong. This article focuses upon the films of Fruit Chan. In Fruit Chan's ‘Hong Kong 1997 Trilogy’, 1997 is neither the beginning of recollections nor the end of Hong Kong. These films dwell upon the failed, the vanished, and the underrepresented to make Hong Kong appear at the intriguing moment of 1997. They explore new perspectives for re-channelling Hong Kong and its histories.     

DOUBLE NEGATIONS: HONG KONG CULTURAL IDENTITY IN HOLLYWOOD'S TRANSNATIONAL REPRESENTATIONS

This article attempts to develop a critical understanding of the reconstitution of Hong Kong identity in Hollywood productions involving Hong Kong film talents. It argues that the ‘local’ in the city's historical context of the nineties no longer refers to any entity pertaining to a particular locality and culture but is always already determined by the framework of the transnational, which structures the perception of its local social reality. In particular, the paper suggests that the remaking of Hong Kong cultural identity in Hollywood films could be grasped in terms of the notion of a double negation. While the formation of such an identity is based on a negation of Chineseness, Hong Kong's transnational crossing to Hollywood initiates another negation that negates the very symbolic realm common to Chineseness. Jackie Chan's Hollywood blockbuster, Rush Hour, is used to illuminate the ways in which Hong Kong film stars and directors working for the global entertainment syndicate re-appropriate their agency in the production of a transnational narrative of their identity.     

Writing of home and home of writing Chinese American diaspora and literary imagination

Abstract

The Silent Traveller's Hong Kong Zhuzhi Poems (1972) by Chiang Yee provides an interesting case for study in relation to Asian American literary theory aesthetics for at least the following three reasons: First, Chiang's poems comment on the 'idiosyncratic phenomena' in Hong Kong, and the ambiguity and sometimes contradictions in his comments allow us to explore the issues of assimilation and Americanization and to get a good understanding of the meaning of 'home' to a Chinese diasporic poet. Second, utilization of the zhuzhi form, a tradition that has been largely abandoned in modern China, suggests the intrinsic value of the cultural tradition and emotional or psychological satisfaction to a Chinese diaspora. Chiang's tenacious adherence to the cultural tradition is a reflection of his yearning for an imaginary 'home'. Third, the use of the Chinese language underlines the poet's Chinese cultural sensitivity. A discussion of the form, content, and language of these poems illustrates the complexity of Asian American cultural and ethnic identity and the significance of the imaginary 'home' – a construction through writing where a diaspora may find a haven in displacement.     

Who's the fairest of them all? Television ads for skin-whitening cosmetics in Hong Kong

This paper explores the notion of fair skin and its relationship to the construction of a Hong Kong ‘racial’ identity by Hong Kongers. It examines a local television advertisement for a cosmetic product named ‘UVWhite whitening softener’. Based on the interpretations of focus-group participants in Hong Kong and the UK, and his own in the role of analyst, the author explores three different perspectives on the advertisement. A triangulation of these three perspectives reveals a number of possible meanings and symbolic functions of fair skin in forming identities of ‘self’ and ‘other’, and their relationships with class, gender and, above all, race in various sociocultural contexts. These perspectives, and the differences between them, also closely reflect the sociocultural backgrounds of the participants and provide clues to an understanding of the ways in which skin colour operates as a visual agent in defining the boundaries of cultural identity, and in identifying a person's place in a local social hierarchy, if not an increasingly global one.     

Indonesian Chinese in Hong Kong: re-migration,re-establishment of livelihood and belonging

This paper describes the re-migration and adjustment of Indonesian Chinese to living in Hong Kong and their cultural belonging to Hong Kong, China, and Indonesia. Known in China as guiqiao or ‘Returned Overseas Chinese’, these were Chinese who re-migrated from Indonesia to mainland China in the 1950s and 1960s. By the early 1970s, many were allowed to migrate to Hong Kong. Although arriving with very little money, many have succeeded in establishing a fairly good life in Hong Kong, although there are also many who survive on low incomes. This paper discusses the experiences of the Indonesian Chinese in relation to local and transnational belonging, the perception of homelands, and the re-establishment of a Southeast Asian lifestyle in Hong Kong.     

Exploring racial identities through participatory visual and ethnographic methods: (Re)presenting the identities of ethnic minority youth in Hong Kong

There is increasing research attention to the integration of ethnic minority youth in Hong Kong. Within this attention lies an interest in how these young people make sense of their identities in relation to their schooling experiences. From a qualitative methodological viewpoint, researchers’ positionalities, including their cultural background and scholarly motivations, have implications on the ways in which they (re)present their findings. Using the axes of insider and outsider, we reflect on and compare how we have approached two studies with ethnic minority youth in Hong Kong. We discuss the potential affordances and tensions of cultural insider and outsider roles in our research to highlight the cultural dynamics in our interactions with our participants. As we advance dialogue on how researchers approach their work through their own cultural positionalities, we offer a nuanced account of the complexities surrounding the ‘making’ of ethnic minority young people’s identities in Hong Kong.     

THE HI/STORIES OF HONG KONG

This paper examines the formation of modernity in three colonialist epics of Hong Kong and the recent historical and fictional works that aim to rewrite the history of the ‘local’. Adopting a challenge-response structure, the paper argues that the colonialist epics construct a monolithic discourse of modernity-as-progress via the amnesia of conflicts, tensions, and processes of domination and negotiation in the rural and everyday space of colonial Hong Kong. It is stressed that to piece together the above anomalies is not an attempt to restore a pre-given ‘native’ to but rather an endeavour to examine how the ‘local’ as divergent historical agents shaped and has been shaped by the political, social, and economic environment of Hong Kong and the larger world outside. This can be called a model of dialectics composed of an internal dialectic and a dialectic of articulation. In this regard, with the benefit of the rapprochement of history and anthropology and a non-linear view of history, this paper is a historical bricolage of the anomalous history of Hong Kong, aiming to destabilize the Hong Kong historical grand narrative. Through rethinking the impact of the colonial experience, this paper hopes to liberate alterity and diversity in historical interpretations and imaginations.     

WHAT MAKES THE LOCAL? A BRIEF CONSIDERATION OF THE REJUVENATION OF HONG KONG IDENTITY

This paper ascertains what makes the local and why the local is important, in the context of change in Hong Kong due to the political transition to PRC sovereignty.In doing so, I hope to pose a modest polemical challenge to cultural studies' tendency to overlook seemingly simplistic empirical information. The return of Hong Kong to China in 1997 has led to a contraction of the political sphere, as the convergence of political structures curbed the development of local identities. The label or category ‘Hong Kong people’ was then appropriated with a specific meaning for the local to resist encroachment of the national. It was true that the high intensity of dominant national discourses during the political transition created a favourable atmosphere for re-nationalization. However, as soon as the political transition was over, Hong Kongers re-adhered to their own label in their struggle for cultural autonomy.Their strong cultural affect toward various national icons during the transition quickly diminished. This multiyear discourse study (1996–1998), which utilizes social scientific methods in conjunction with cultural theories, illustrates important political and methodological impulses necessary for the formulation of a socio-political approach to cultural studies within the Hong Kong context.     

INTERFACING FEMINISM AND CULTURAL STUDIES IN HONG KONG: A CASE OF EVERYDAY LIFE POLITICS

Cultural studies, as a cultural and political re-articulation of common sense, knowledge and community practices, aims at opening up new cultural space for criticisms, reflections and action. Originating from the women' movement and later flourishing in the academy as well, feminism espouses similar aims to cultural studies. Both cultural studies and feminist/gender studies have a strong sense of intervening into everyday life politics. This paper is an attempt to discuss how feminism and cultural studies interface with each other, largely based on examples of gender-related everyday life politics taken from the feminist movement in Hong Kong. It will examine issues concerning the conflict of consumption and female subjectivities, the reconceptualization of home and housewives, and the representation of everyday life for women and history writing. It is argued that by blurring, negotiating or deconstructing the boundary or division between positions, identities and domains–such as subject and object, housewives and workers, private and public, personal and political, consumption and production–the re-articulation of knowledge about ‘victim’, ‘exploitation’, ‘home’ and ‘history’ in the feminist movement will not only provide the movement with new impetus and insight to reconsider its strategies in fighting for more cultural, social and economic space for women and other marginal groups at large in Hong Kong, but will also ‘metabolize’ the newly developed discipline of cultural studies in Hong Kong by providing a platform to strengthen the dynamic arm of cultural studies education and research. Based on her feminist and teaching experiences in Hong Kong, the author has highlighted activism and pedagogy as the two important dimensions of feminism and cultural studies in this paper.     

Looking beyond ‘buildings of chrome and glass’: Hong Kong’s ‘uncanny postcoloniality’ in photographs of Tin Shui Wai

Hong Kong has a unique postcolonial identity. After being colonised by Britain for over a century and a half, it was ceremoniously handed over to China in 1997, without necessitating any bloody wars or even skirmishes. Hong Kong has continued to enjoy a privileged status within China due to the doctrines enshrined in the ‘one country two systems’ policy. She has benefited from becoming part of a nation with the fastest growing economy in the world, and the people of Hong Kong have for the most part acquiesced to the reduction in levels of political freedom. However, recent events like the Umbrella Movement spearheaded mainly by student protesters has brought to the fore the cracks in Hong Kong’s postcolonial identity and the city finds itself once again precariously poised in a moment of transition.

Theorising a connection between Hong Kong’s postcolonial predicament and the city state’s physical landscape, I analyse Hong Kong photographer Derrick Chang’s photos of Tin Shui Wai, a remote new town located on Hong Kong’s northwestern edge. Tin Shui Wai is a failed new town – it was developed to house workers who would serve the industries that were projected to develop there in the 1990s. However, these labour-intensive industries never materialised due to the meteoric rise of Guangdong’s manufacturing industry. Instead Tin Shui Wai has now come to be known as the ‘city of sadness’, notorious for its gruesome murders, high rate of domestic abuse and tragic suicides. Through an analysis of Chang’s photographs of Tin Shui Wai depicting isolation, stagnation and urban detritus, this article argues that the uncanny, spectral spaces of encounter raise questions and provide an alternative and more disquieting narrative of Hong Kong’s postcolonial identity.     

Body,dress and cultural exclusion: Experiences of Pakistani women in ‘global’ Hong Kong

Underneath a veneer of racial harmony and acceptance, racial discrimination is widespread at many different levels of life in Hong Kong, the so-called ‘global city’. For decades, some minority communities have lived with subtle but institutionalized and cultural discrimination permeating their existence. In recent years, social exclusion has been one of the important themes in policy debates in Hong Kong. It is increasingly recognized that there is a close relation between ‘ethnicity’ and ‘social exclusion’. According to our research on the life situation of the South Asian minority in Hong Kong, experiences of exclusion are common. This paper focuses on investigating dress as a form of cultural exclusion among Pakistani women in Hong Kong and how mainstream society constrains the bodies of its members through dress.     

IMAXTECHNOLOGY AND THE TOURIST GAZE

IMAX grew out of the large and multiple screen film experiments produced for Expo '67 in Montreal. Since then, it has become the most successful large format cinema technology. IMAX is a multiple articulation of technological system, corporate entity and cinema practice. This article shows how IMAX is reintroducing a technologically mediated form of ‘tourist gaze’, as elaborated by John Urry, into the context of the institutions of museums and theme parks. IMAX is seen as a powerful exemplar of the changing role of cinema-going in contemporary post-Fordist culture,revealing new configurations of older cultural forms and practices. In particular, the growth of this brand of commercial cinema runs parallel to a blurring of the realms of social and cultural activity, referred to as a process of ‘dedifferentiation’. This article gives special attention to the espistemological dimensions of IMAX's conditions of spectatorship.     

Mobility and work-residence matching for new immigrants in Hong Kong

Due to their prominence in contributing to Hong Kong's population growth in recent years, new immigrants' housing preference play a crucial role on shaping housing demand. However, previous studies have not focused on their characteristics. This study aims to identify the factors which influence residential mobility and work-residence matching of households with new immigrants, based on the most recent Population census data in Hong Kong. The findings indicate that households which contain Mainland Chinese immigrants are more mobile residentially and have better work-residence matching than those with non-Chinese immigrants. Besides, the work-residence matching preference is stronger for a household with all of its members immigrating to Hong Kong together. In addition, it is found that both district poverty and housing affordability keep households from obtaining better work-residence matching in general. The impact of the latter is particularly remarkable among households with foreign immigrants. These new findings would provide valuable implications for policy and market development.     

Place attachment and political orientation: The case of localists in Hong Kong

This study extends the application of place attachment, which is widely used in environmental science research, to the field of political and civic studies. It compares place attachment between citizens with different political orientations and citizenship identities. In addition to its “cognitive” aspect, this study includes an “affective” dimension that has rarely been featured in the extant literature. Our findings, based on a telephone survey of 607 Hong Kong residents, confirm that place attachment is composed of both cognitive and affective dimensions. Besides, the mean score of self-identified “localists” and “Hong Kongers” on place attachment was significantly lower than that of “centrists” and those with no political orientation, as well as those who identified themselves as “Chinese Hong Kongers,” respectively. The weak place attachment among the localists amid Hong Kong's tremendous social and political challenges is most alarming, which highlights the need for policy makers to quickly address the issue.     

‘Ink Art’ as strategy for Hong Kong institutions

Abstract

In both their wider cultural dimensions and the institutional practices they stem from, the practices of ink art in Hong Kong manifest themselves in a variety of discourses ranging from the ‘traditionalism’ of the conservative nativists to the ‘contemporaneity’ of artists and institutions often identified as being closer to ‘Western’ culture. Even though the most influential discourse about ink art in Hong Kong has clearly been produced by official institutions, like the future museum of visual culture called M+ and the already existing Museum of Art, it has also been profoundly influenced by private associations whose influence has been far reaching. The most visible of these private associations in Hong Kong is the Ink Society, whose founding members and their affiliates and friends have played a central role in the early debate about the nature of ink art in the history of local arts. Through an analysis of a failed attempt by the Ink Society to bid for the right to manage a historical site, this paper attempts to unravel some of the ideas that support the notion of ink art in Hong Kong.     

Post-handover identity: contested cultural bonding between China and Hong Kong

This study examines the formation of Hong Kong identity and its cultural articulation in Chinese identity in the post-handover years. Surveys of Hong Kong identity conducted between 1996 and 2016 demonstrate a set of interlinked yet contradictory findings: (i) the coexistence of both cultural pride in and resistance to cultural icons that represent the Chinese state; (ii) weakening correlations between China and Hong Kong regarding cultural affiliation; and (iii) the growing significance of cultural resistance to China by people who love Hong Kong. The survey results indicate the prevalence of an ambivalent identity in post-handover Hong Kong with regard to the coexistence of opposing attitudes toward Chinese identity. These results provide evidence of the complex cultural bonding between China and Hong Kong in the development of the China–Hong Kong relationship since the handover in 1997.     

Between a subject and an object: representation of China in Kuo Pao-kun’s Singapore and Denny Yung’s Hong Kong

Late Pao-kun Kuo in Singapore and contemporary Denny Yung in Hong Kong have made particular ontological and epistemological choices in their experimental theater in the context of the de-colonization and rise of China. We gather, between the two sites, a possible dichotomy in the representation of China: China as a collective subject to accommodate the changing world and China as an individualized object that emerges in each narrator’s chosen perspective. Kuo intends to prompt the audience to reconnect with something greater than their individuality. For Kuo, the crisis is the loss of cultural subjectivity and the privileging of transcendence over individualized meanings of life. For Yung, cultural subjectivity is no longer a question after the return of Hong Kong to China. Yung painstakingly generates the legitimacy and capacity of individual Hong Kong people to have faith in their own ways of transcending any version of the entirety of China.