Using process drama in museum theatre educational projects to reconstruct postcolonial cultural identities in Hong Kong, Singapore and Taiwan

2014 ◽  
Vol 19 (1) ◽  
pp. 39-50
Author(s):  
Wan-Jung Wang
Keyword(s):  
Hong Kong ◽  
Cultural Identities ◽  
Process Drama ◽  
Museum Theatre

scholarly journals Cultural Differences in the Hedonic Rewards of Recalling Kindness: Priming Cultural Identity with Language

2021 ◽  
Vol 2 (1) ◽  
pp. 80-90
Author(s):  
Lilian J. Shin ◽  
Seth M. Margolis ◽  
Lisa C. Walsh ◽  
Sylvia Y. C. L. Kwok ◽  
Xiaodong Yue ◽  
...  
Keyword(s):  
Hong Kong ◽  
Cultural Identity ◽  
Emotional Experience ◽  
Chinese Language ◽  
Well Being ◽  
Cultural Identities ◽  
Weak Ties ◽  
Recent Theory ◽  
Emotional Experiences ◽  
The Usa

AbstractRecent theory suggests that members of interdependent (collectivist) cultures prioritize in-group happiness, whereas members of independent (individualist) cultures prioritize personal happiness (Uchida et al. Journal of Happiness Studies, 5(3), 223–239 Uchida et al., 2004). Thus, the well-being of friends and family may contribute more to the emotional experience of individuals with collectivist rather than individualist identities. We tested this hypothesis by asking participants to recall a kind act they had done to benefit either close others (e.g., family members) or distant others (e.g., strangers). Study 1 primed collectivist and individualist cultural identities by asking bicultural undergraduates (N = 357) from Hong Kong to recall kindnesses towards close versus distant others in both English and Chinese, while Study 2 compared university students in the USA (n = 106) and Hong Kong (n = 93). In Study 1, after being primed with the Chinese language (but not after being primed with English), participants reported significantly improved affect valence after recalling kind acts towards friends and family than after recalling kind acts towards strangers. Extending this result, in Study 2, respondents from Hong Kong (but not the USA) who recalled kind acts towards friends and family showed higher positive affect than those who recalled kind acts towards strangers. These findings suggest that people with collectivist cultural identities may have relatively more positive and less negative emotional experiences when they focus on prosocial interactions with close rather than weak ties.

scholarly journals The rupture in Hong Kong cinema: Post-2000 Hong Kong cinema(s) as both a transnational cinema and a national cinema

Lumina ◽  
2020 ◽  
Vol 14 (1) ◽  
pp. 68-83
Author(s):  
Fangyu Chen
Keyword(s):  
Hong Kong ◽  
Mainland China ◽  
Cultural Identities ◽  
Local Culture ◽  
Young Generation ◽  
Transnational Cinema ◽  
National Cinema ◽  
Hong Kong Cinema ◽  
Economic Boom ◽  
Film Market

This paper traces artistic and ideological discrepancies between the young generation of Hong Kong filmmakers and their predecessors – the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing studies of national cinema and transnational cinema in the last three decades, the author argues that current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggles for better preservation of Hong Kong local culture and their own cultural identities. To conduct the research, 47 people were interviewed including13 established filmmakers, 16 young filmmakers and18 film students from 3 universities in Hong Kong. The three groups of respondents generally represent three perspectives: that of the established film practitioners, who have a vested interest in the current co-production era; that of the emerging young film practitioners, who above all crave a flourishing local film market and whose productions exhibit stronger Hong Kong cultural identities; lastly, that of the, who were predominantly born in the 1990s and have the most extreme views against mainland China and whose filmmaking ideologies and practices foreshadow the future of the industry.

Transformative Architectures in Postcolonial Hong Kong Comics

2019 ◽  
pp. 533-552
Author(s):  
Kin Wai Chu
Keyword(s):  
United States ◽  
Hong Kong ◽  
The United States ◽  
Cultural Identities ◽  
Political Cartoons ◽  
Fictional Characters ◽  
Growing Up ◽  
Political Humor ◽  
Political Events

This chapter looks at Hong Kong cultural identities by analyzing the postcolonial Hong Kong comic Harbor Heroes, by Siuhak, in which the heroes are fictional characters in the form of anthropomorphologized robots transformed from famous architectural landmarks along the Victoria Harbor front. The characterization of these robots reflects the transmedial influences of robot animations produced in Japan and the United States in the 1980s when Siuhak was growing up. Originally published as editorial comics from 2004 to 2016, Harbor Heroes has the features of political cartoons that are closely tied to current issues and political events. The narratives include political humor, nostalgia, and parodies. Therefore, they have displayed the transformation of Hong Kong as well as the shifting cultural identities among Hong Kong people. After studying its comic forms, functions, and publication format, it is proposed that this story embodies multilayered hybridity which also accentuates hybrid Hong Kong cultural identities.

scholarly journals Mapping the Cultural Identities of Youths in Hong Kong from a Social Capital Perspective

2020 ◽  
Vol 9 (11) ◽  
pp. 205
Author(s):  
Qiaobing Wu ◽  
Ying Ou ◽  
Lucy P. Jordan
Keyword(s):  
Social Capital ◽  
Hong Kong ◽  
Cultural Values ◽  
Immigrant Students ◽  
Mainland China ◽  
Cultural Identities ◽  
Cross Sectional Survey ◽  
Cross Sectional ◽  
Cross Border ◽  
Local Students

With its unique geopolitical status and multicultural setting, Hong Kong has harbored different youth groups generated from cross-border migration with mainland China who are tied to different cultural values and identifications. This study aims to investigate how social capital embedded in the family, school, and community influences the cultural identities across three groups of Chinese youths in the educational system: local students; cross-border students (born in Hong Kong, living in the neighbor city of mainland China but attending schools in Hong Kong on daily commute); and new immigrant students (born in mainland China but living in Hong Kong for less than seven years). Using data from a cross-sectional survey with 2180 fourth- to ninth-grade students in Hong Kong, the logistic regression results suggest that family and community social capital play significant roles in shaping the cultural identity of youths. Implications of the research findings are discussed.

scholarly journals Trans-border televisual musicscape: Regionalizing reality TV I am a Singer in China and Hong Kong

2017 ◽  
Vol 2 (1) ◽  
pp. 90-108 ◽  
Author(s):  
Carlos K.F. Cheung
Keyword(s):  
Hong Kong ◽  
Identity Politics ◽  
Cultural Memory ◽  
Music Performance ◽  
Reality Tv ◽  
Cultural Identities ◽  
Pop Music ◽  
Television Programme ◽  
Research Questions ◽  
Depth Interviews

This article focuses on the regionalization of reality TV I am a Singer from China to Hong Kong. It explores the features of a successful flow of a reality singing contest with the concepts of mediascape, televisuality and cultural memory of pop music. The three research questions: what format structures of televisuality are being integrated in I am a Singer; how locals in China and Hong Kong interpret and appropriate I am a Singer to their experience of cultural identities and how trans-border televisual musicscape facilitates regionalization of television programme, are answered by textual analysis and in-depth interviews with 12 informants from China and Hong Kong. It is found that the focal programme is implemented with excessive performative style that holds audience’s attention, authentic music performance that resonates with post-1980s identity in China and Hong Kong, and dramatic reality contest that links to nationalism and Hong Kong people’s victimized identity. Identity politics is consumed by audience in China and Hong Kong as the dramatized excitement of the focal programme, which nurtures a group of loyal audience across China and Hong Kong.

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