Hong Kong, Films, and the Building of China’s Soft Power: The Cross-Promotion of Chinese Films on Globally Oriented State Television

2016 ◽  
pp. 265-293 ◽  
Author(s):  
Lauren Gorfinkel ◽  
Xuezhong Su
Keyword(s):  
Hong Kong ◽  
Soft Power ◽  
The Cross ◽  
Chinese Films

The circulation of Chinese film in New Zealand as a potential platform for soft power

2020 ◽  
Vol 176 (1) ◽  
pp. 78-92
Author(s):  
Ian Huffer
Keyword(s):  
Hong Kong ◽  
New Zealand ◽  
Soft Power ◽  
Overseas Chinese ◽  
Chinese Film ◽  
A Site ◽  
Hearts And Minds ◽  
Chinese Films

New Zealand is one of only a handful of countries worldwide in which Chinese blockbusters are regularly released in cinemas and has also been a site of increasing debate regarding China’s soft power. This article consequently examines the circulation of Chinese films in New Zealand, not only through theatrical exhibition but also non-theatrical channels, and considers how this might build a platform for soft power. It considers the balance between ‘official’ and ‘unofficial’ mainland filmmaking, and between mainland filmmaking and Hong Kong, Taiwanese and diasporic filmmaking, along with the target audiences for these different channels. The article shows that, taken as a whole, the distribution and exhibition landscape for Chinese film in New Zealand builds a successful platform for the People’s Republic of China’s aspirations of winning the ‘hearts and minds’ of overseas Chinese, while also being characterised by clear limitations in reaching non-Chinese audiences in New Zealand.

Components of Source “Image”: Hong Kong, Brazil, North America

1969 ◽  
Vol 46 (2) ◽  
pp. 306-313 ◽  
Author(s):  
James B. Lemert
Keyword(s):  
Hong Kong ◽  
North America ◽  
Factor Structure ◽  
Cross Cultural ◽  
Source Image ◽  
The Cross ◽  
Three Factor

Evidence of three kinds is given for the cross-cultural generality of a three-factor structure of source image: Safety, Dynamism and Qualification, which emerges across sources, scales, cultures, instructions and situations.

Remapping Hong Kong popular music: covers, localisation and the waning hybridity of Cantopop

Popular Music ◽  
2013 ◽  
Vol 32 (1) ◽  
pp. 65-78 ◽  
Author(s):  
Yiu-Wai Chu ◽  
Eve Leung
Keyword(s):  
Hong Kong ◽  
New Media ◽  
Popular Music ◽  
Soft Power ◽  
World City ◽  
Popular Songs ◽  
Global Status ◽  
Popular Music Industry ◽  
Original Songs ◽  
Radio Campaign

AbstractEver since its sovereignty reverted to China, Hong Kong has been torn between its national (in terms of China and its ‘soft’ power) and global status (as ‘Asia's World City’). In this special context, Hong Kong's singular, ambiguous but prolific existence ceased. This paper endeavours to map ‘Cantopop’ (Chinese popular songs) on the new media landscape and examine its decline in the context of the rise and fall of cover versions. Cantopop was once very popular, not only in Hong Kong but also in its neighbouring regions. Its rise in the 1970s was a result of its typical hybridity, an important aspect of which was influenced by the use of cover versions that changed its soundscape. In the mid-1990s, the Cantopop market started to shrink significantly. A radio campaign for localisation advocated the release of original songs aimed at enhancing the development of Cantopop, but in the end proved to have the opposite effect. In the new millennium, ‘Mandapop’ (Mandarin popular songs) has taken on the role as the trend setter of the Chinese popular music industry. We argue in this paper that Cantopop's decline is the result of Hong Kong's loss of hybridity.

China pressure will grow on Hong Kong and Taiwan

2016 ◽  
Keyword(s):  
Hong Kong ◽  
Economic Damage ◽  
Xi Jinping ◽  
Content Type ◽  
High Profile ◽  
Opposition Party ◽  
The Cross

Significance President Xi Jinping, meanwhile, has been courting Taiwan's China-friendly opposition party through a high-profile meeting in Beijing, as the island's China-sceptic government rapidly loses popularity. Impacts Resentment in Hong Kong will fuel more street activism and judicial opposition, making businesses wary but not disrupting operations. Beijing shows little interest in intervening on legal matters that affect business in Hong Kong. Taipei will reach out to other governments, hoping to compensate for the economic damage caused by the cross-Strait chill. Governments and international forums will face Chinese pressure not to engage with Taiwan until its government makes symbolic concessions.

A Cross-Cultural Test of a Model of the Work-Family Interface

1999 ◽  
Vol 25 (4) ◽  
pp. 491-511 ◽  
Author(s):  
Samuel Aryee ◽  
Dail Fields ◽  
Vivienne Luk
Keyword(s):  
Hong Kong ◽  
Well Being ◽  
Work And Family ◽  
Cross Cultural ◽  
Work Family Conflict ◽  
Family Responsibilities ◽  
Family Work ◽  
The Two Cultures ◽  
The Cross ◽  
Work Family

Recent efforts to more fully understand the mechanisms through which work and family experiences and their cross-over effects influence well-being have stimulated the development of integrative models of the work-family interface. This line of research is represented by the model which Frone, Russell, and Cooper (1992) tested with a sample of U.S. employees. In the current study, we examine the cross-cultural generalizability of this model among married Hong Kong employees. Results of the analyses suggest that many of the relationships among work and family constructs are similar across the two cultures, but that the nature and effects of the cross-over between family and work domains on overall employee well-being may differ. That is, life satisfaction of Hong Kong employees is influenced primarily by work-family conflict, while that of American employees is influenced primarily by family-work conflict. Limitations of the study and implications of the findings for assisting employees integrate their work and family responsibilities as a source of competitive advantage are discussed.

Cross-media Integration of Literature and Dance

2015 ◽  
Vol 11 (1) ◽  
Author(s):  
Yu Ling
Keyword(s):  
Hong Kong ◽  
Personal Experience ◽  
The Novel ◽  
Literary Style ◽  
Cross Media ◽  
Artistic Work ◽  
The Cross ◽  
Creative Artists ◽  
Media Integration ◽  
Work First

AbstractCreative artists can achieve cross-media integration of literature and dance. Blood Carmen, the novel by Hong Kong writer Huang Biyun, combines the rhythm and beat of literature with that of flamenco dance into a unified whole, tapping out a unique artistic work. First, the form of dance is blended into the form of language in order to create a unified, dynamic narrative. Second, literary style is blended with the style of dance. Third, the author, through her portrayal of the dancers’ lives, expertly evokes aspects of the unspeakable pain life often brings. Huang Biyun’s own soul resonates with flamenco, and from this deep, personal experience she has given us new possibilities for the cross-media narrative.

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