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The cinematic contradiction of the China-Hong Kong integration

The cinematic contradiction of the China-Hong Kong integration

This e-book draws upon the changing face of Hong Kong cinema to describe how the postcolonial Hong Kong, using Mathew’s words (2008), is “learning to belong to a nation”. This special issue advances an insight of how the postcolonial Hong Kong never is a docile national learner, much less a simple national order-recipient. On the contrary, the postcolonial Hong Kong, though lacking a symmetric status and equal weight, remains an active player with Chinese hegemony that appeals to the newfound market power to consolidate their systemic control on the city. By acting upon itself with the subjectivity and reflexivity from itself, the postcolonial Hong Kong takes many actions to do the justice that criticizes the political and ideological correctness and challenges the contemporary national authority from one-party rule.

Despair and hope: cinematic identity in Hong Kong of the 2000s, From transnational to Chinese national? A new in-betweenness of Hong Kong cinema in the postcolonial politics of disappearance, Ideological battles in and out 1911, Lost in Hong Kong: Hong Kong as a “Bizarre National Redemptive Space” for the new Chinese middle class, The colony writes back: nationalism and collaborative coloniality in the Ip Man series, Trivisa or Amphetamine? Hong Kong – China cinema co-production during the first ten years of CEPA

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