Abstraction and meaning in the animation of Hong Kong artists

2020 ◽  
Vol 8 (1) ◽  
pp. 123-140
Author(s):  
Max Hattler
Keyword(s):  
Hong Kong ◽  
Meaning Making ◽  
Discursive Space ◽  
Moving Image ◽  
Chinese Opera ◽  
Experimental Animation

This article discusses the experimental animation works of Choi Sai-Ho, Carla Chan, Tobias Gremmler and Chris Cheung Hon-Him to probe animated abstraction as a discursive space through which meaning can be negotiated. These Hong Kong artists explore alternative, open-ended and fluid ways of meaning-making that are emerging in response to more traditional modes of moving image storytelling. In developing a narrative-abstraction vocabulary for artists and scholars to work with, what role can the works of Hong Kong artists play in shaping this, and what perspectives can these works offer for such an endeavour? A range of preoccupations with references ranging from spiritual symbolism and abstracted landscape to Chinese opera and Hong Kong architecture bring to light some of those other visions and possible modes of animated abstraction engaged with producing meaning.

scholarly journals Context and curriculum in two global cities: A study of discourses of citizenship in Hong Kong and Singapore

2016 ◽  
Vol 24 ◽  
pp. 58 ◽  
Author(s):  
Theresa Alviar-Martin ◽  
Mark Baildon
Keyword(s):  
Hong Kong ◽  
Civic Education ◽  
Global Economy ◽  
Meaning Making ◽  
Global Citizenship ◽  
Comparative Case Study ◽  
Global Cities ◽  
National Economic ◽  
Alternative Discourses

This qualitative, comparative case study examined global civic education (GCE) in the Asian global cities of Hong Kong and Singapore. Guided by theories that position curriculum at the intersection of discourse, context, and personal meaning-making, we sought to describe the ways in which intentions for GCE reflect broader societal discourses of citizenship and how curricula allow students to tackle tensions surrounding national and global citizenship. We found that Singapore and Hong Kong have adopted depoliticized forms of citizenship as a means of inoculation against global ills. These types of citizenship are more nationalistic than global in nature; moral rather than political; and focused mainly on utilitarian goals to produce adaptable workers able to support national economic projects in the global economy. Although critical, transnational, and other emergent civic perspectives are apparent in both cities, the data yielded little evidence of curricular opportunities for students to become exposed to alternative discourses and reconcile discursive contradictions. The findings inform current literature by illuminating the nexus of local and global discursive practices, implicating the ability of curricula to accommodate both novel and established civic identities, and forwarding suggestions to bridge disconnections between theoretical and local curricular definitions of global citizenship. 

scholarly journals Pixels, Police, and Batons

2021 ◽  
Vol 74 (3) ◽  
pp. 9-22
Author(s):  
Cameron L. White
Keyword(s):  
Hong Kong ◽  
Digital Media ◽  
Film Studies ◽  
Mainland China ◽  
Film History ◽  
Film Festival ◽  
Moving Image ◽  
Moving Images ◽  
Frequent Form ◽  
Productive Potential

The 2019 Hong Kong protests witnessed not only sustained physical demonstrations by locals, but also a swell of online digital media that recorded and remixed conflicts between protestors and police. By documenting key moving images that circulated throughout social media and the film festival circuit, White’s essay reorients Hong Kong film studies’ relationship with the digital. Although cinema played a secondary role in the 2019 protests compared to digital media, numerous intertextual linkages demonstrate the productive potential of considering the two together. Special attention is given to the cops-and-robbers genre, a linchpin in local film history and a frequent form of choice for Hong Kong-mainland China coproductions. While the troubled representation of police in 2019 and beyond suggests that the future of the genre is unstable, the ingenuity of recent digital media demonstrates Hong Kong’s enduring potential for moving image innovation.

Translanguaging or code-switching?

2021 ◽  
Author(s):  
Brian Hok-Shing Chan
Keyword(s):  
Hong Kong ◽  
Real Time ◽  
Language Production ◽  
Meaning Making ◽  
Code Switching ◽  
Language Mixing ◽  
Peer Talk ◽  
The Difference ◽  
Language Boundaries ◽  
Radio Talk

Abstract Recent popularity of “translanguaging” as a concept referring to bilingual practices has challenged the appropriateness of “code-switching” – the term that has been most influential in studies of bilingualism and language mixing. Reassessing the literature on Cantonese-English mixing in Hong Kong, this paper suggests that the kind of spontaneous code-switching in peer talk, largely intra-sentential (or intra-clausal) and intra-turn, can indeed be recast as translanguaging, where speakers transcend language boundaries between Cantonese and English for the purpose of meaning-making. Nevertheless, Hong Kong speakers do constantly draw language boundaries by marking words as English or Cantonese, both in metalinguistic judgment and in real-time language production. Revisiting an unpublished dataset of radio talk, this paper further illustrates a number of sequences in which Cantonese speakers may “languagise” the code-switched words or expressions as “English”. It is concluded that, in a Conversation-Analytic understanding, the difference between “translanguaging” and “code-switching” boils down to “languagising”, and the contrast between the two notions may have been overstated.

Creating a Textual Public Space: Slogans and Texts from Hong Kong's Umbrella Movement

2016 ◽  
Vol 75 (3) ◽  
pp. 673-702 ◽  
Author(s):  
Sebastian Veg
Keyword(s):  
Hong Kong ◽  
Political Culture ◽  
Public Space ◽  
Political Legitimacy ◽  
Political Community ◽  
Civic Culture ◽  
Discursive Space ◽  
The Public ◽  
Different Levels

Hong Kong's Umbrella Movement (September–December 2014) represented a watershed in Hong Kong's political culture and self-understanding. Based on over 1,000 slogans and other textual and visual material documented during the movement, this study provides an overview of claims, which are oriented towards an assertion of agency, articulated at different levels: in a universalistic mode (“democracy”), in relation with a political community (Hong Kong autonomy and decolonization), and through concrete policy aims. At the same time, slogans mobilize diverse cultural and historical repertoires that attest the hybrid quality of Hong Kong identity and underscore the diversity of sources of political legitimacy. Finally, it will be argued that by establishing a system of contending discourses within the occupied public spaces, the movement strived to act out a type of discursive democracy. Despite the challenges that this discursive space encountered in interacting with the authorities and the public at large, it represented an unfinished attempt to build a new civic culture among Hong Kong's younger generation.

Deontic meaning making in legislative discourse

Semiotica ◽  
2016 ◽  
Vol 2016 (209) ◽  
pp. 323-340 ◽  
Author(s):  
Jian Li ◽  
Le Cheng ◽  
Winnie Cheng
Keyword(s):  
Hong Kong ◽  
Natural Language Processing ◽  
Natural Language ◽  
Language Processing ◽  
Theoretical Basis ◽  
Meaning Making ◽  
Distribution Patterns ◽  
Legal Framework ◽  
Linguistic Features ◽  
Deontic Modality

AbstractModality and negation, as two important linguistic features used to realise subjectivity, have been investigated within various disciplines, such as logic, linguistics and philosophy, and law. The interaction between modality and negation, as a relatively new and undeveloped domain, has however not been paid due attention in scholarship. This corpus-based study investigates three aspects of their interaction: the differentiation of the deontic value by negation, the categorization of deontic modality in Hong Kong legislation via negation, and distribution patterns of deontic modality, especially distribution patterns of the negation of modality, in Hong Kong legislation. This study shows that negation is a powerful linguistic mechanism not only for determining the nature and functions of modality, but also for determining the value of modality. This study also reveals that negation helps us to investigate the distribution of deontic modality in Hong Kong legislation and hence revisit the legal framework in Hong Kong. A study taking into account the discursive and professional aspects of the interaction between deontic modality and negation will provide a theoretical basis for the natural language processing of modality and negation in legislation and also offer important implications for the study of negation and modality in general contexts.

Body in Crisis and Posthumous Subjectivity: Igor’ Voloshin’s Nirvana (2008)

2016 ◽  
Author(s):  
Vlad Strukov
Keyword(s):  
Meaning Making ◽  
The Body ◽  
Deleuze And Guattari ◽  
Moving Image ◽  
Body Without Organs ◽  
The Subject

Symbolisation is not about providing symbols as naïve interruptions of the moving image but rather opening the cinematic production to pro-nomination, that is, meaning-making before all names and terms. This process is similar to ex-scription (from Latin ‘exscriptus’, meaning ‘a copy, a transcript’). According to Nancy, it means ‘that the thing’s name, by inscribing itself, inscribes its property as name outside itself’ (1993: 175), or what I called above, strategies of externalisation. Here cinematic work is about writing as ‘ex-scribing’, or working from another edge, or describing states while also pointing to another, metaphysical dimension, that of ex-scription. I explore the possibility of presenting the subject cinematically as a mode, that is, a system of gestures and emotions, and everything else that comes to pass: ‘waves and vibrations, migrations, thresholds and gradients, intensities produced in a given type of substance starting from a given matrix’ (Deleuze and Guattari 1988: 153). My analysis of Nirvana attests, the body without organs is first and foremost a performing body, a body that is performing itself by means of itself, whereby the boundaries between internal and external structures are blurred and the body becomes a continuous act of inscribing meaning.

A proposed model of transmission of Cantonese opera in Hong Kong higher education: From oral tradition to conservatoire

2018 ◽  
Vol 19 (2) ◽  
pp. 144-166
Author(s):  
Bo-Wah Leung
Keyword(s):  
Hong Kong ◽  
Performing Arts ◽  
Oral Tradition ◽  
Large Scale ◽  
Modern World ◽  
Cultural Tradition ◽  
Chinese Opera ◽  
Traditional Art ◽  
Art Forms ◽  
Cantonese Opera

Transmission of traditional art forms in the modern world has been a major issue in the field of arts education. Different issues have been raised on how to preserve the traditional art forms for further development. Cantonese opera is a representative Chinese opera popular in south China including Hong Kong. However, the genre has been experienced fluctuation since 1950s with the difficulties of transmission through oral tradition to conservatory tradition. While the Hong Kong Government promotes the genre to reserve the cultural tradition, great masters have been fading out and younger generation encounters difficulties in inheriting the genre. This article reports parts of a large-scale study on the nature and characteristics of oral tradition, learning in community settings, conservatory tradition, and proposes a model of transmission of Cantonese opera in Hong Kong. The model may shed light on preserving, inheriting, and further developing traditional performing arts in the modern world.

Developing Local Popular Songs in Hong Kong: A Study of the All Cantonese Pop Music Station Format

2002 ◽  
Vol 105 (1) ◽  
pp. 147-162 ◽  
Author(s):  
Chu Yiu-Wai
Keyword(s):  
Hong Kong ◽  
Cultural Policy ◽  
Music Industry ◽  
Complex Relationship ◽  
Pop Music ◽  
Indigenous Culture ◽  
Discursive Space ◽  
Cultural Policies ◽  
Popular Songs ◽  
Commercial Radio

Taking the case of the All Cantonese Pop Music Station, launched by Commercial Radio of Hong Kong in the late 1980s, this paper investigates the intricate relations among cultural policy, broadcasting institutions and the music industry. Through analysis of this empirical case, the complex relationship between cultural policy and the development of local pop songs is also examined. The major theoretical thrust tackles the important question of whether protective cultural policies are culturally limiting or integral to creating discursive space for indigenous culture to develop.

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