Set in the long-lost City of Victoria (a fictional world similar to Hong Kong), Atlas is written from the unified perspective of future archaeologists struggling to rebuild a thrilling metropolis. Divided into four sections—"Theory," "The City," "Streets," and "Signs"—the novel reimagines Victoria through maps and other historical documents and artifacts, mixing real-world scenarios with purely imaginary people and events while incorporating anecdotes and actual and fictional social commentary and critique. Much like the quasi-fictional adventures in map-reading and remapping explored by Paul Auster, Jorge Luis Borges, and Italo Calvino, Dung Kai-cheung's novel challenges the representation of place and history and the limits of technical and scientific media in reconstructing a history. It best exemplifies the author's versatility and experimentation, along with China's rapidly evolving literary culture, by blending fiction, nonfiction, and poetry in a story about succeeding and failing to recapture the things we lose. Playing with a variety of styles and subjects, Dung Kai-cheung inventively engages with the fate of Hong Kong since its British "handover" in 1997, which officially marked the end of colonial rule and the beginning of an uncharted future.
This tragic coming-of-age story follows three disillusioned local youths struggling to navigate Hong Kong public housing projects and late adolescence amid violent crime, gang pressure, and broken homes. Shot on a very low budget, the film marked the beginning of Chan's career as an independent film director.
This book addresses the life quality of the average adult in the world, based on international data weighted according to national population size. It rests on the theoretical framework of analytic-functionalism to explain statics and dynamics in the production of life quality. The statics means the influences of personal and national factors on life quality, whereas the dynamics mean the changes in the influences over time. This approach elucidates life quality at the personal level rather than at the national level, which overlooks what happens to the average person living in the world. The approach involves a broad view of the production of life quality, including experiences, practices, and appraisals of life. This production also involves personal background characteristics and the national indicators of modernization, globalization, and environmental issues. Knowledge about the production is helpful for policymakers, researchers, students, and other people to upgrade life quality. Such knowledge is valuable because it is up-to-date, generalizable, and sensible based on the analytic-functionalist theoretical framework and statistical estimation.
Hong Kong's Watershed: The 1967 Riots is the first English book that provides an account and critical analysis of the disturbances based on declassified files from the British government and recollection by key players during the events. The interviews with the participants, including Jack Cater, Liang Shangyuan, George Walden, Tsang Tak-sing, Tsang Yok-sing, and Hong Kong government officials, left irreplaceable records of oral history on the political upheaval. --The book analyses the causes and repercussions of the 1967 riots which are widely seen as a watershed of postwar history of Hong Kong. It depicts the prelude to the 1967 riots, including the Star Ferry riots in 1966, the leftist-instigated riots in Macau in 1966, and the major events leading to the disturbances, including the labour dispute at a plastic flower factory, the border conflict in Sha Tau Kok, bomb attacks and arson attacks on the office of British charge d'affaires in Beijing. --Gary Ka-wai Cheung has been a journalist since 1991. He worked as a reporter at Sing Tao Daily, Overseas Chinese Daily, Yazhou Zhoukan and South China Morning Post, covering fields ranging from politics, education and integration between Hong Kong and the mainland. He is currently an associate news editor at the South China Morning Post. --
In this volume, dedicated to the memory of Hong Kong University students, faculty and members of the Court who lost their lives as a result of hostilities in the Far East during 1941-1945, we ask what happened to the University during those years of Japanese occupation when there was only the shell of a campus left standing on Pokfulam Road. Though physically non-existent, the idea of the University persisted, as shown by the recollections here of twenty-five contributors, many of whom were students of faculty when war broke out. Their stories of imprisonment or escape, mainly to China, help to capture something of the spirit of those challenging times that eventually led to the re-establishing of the University in 1948 and its remarkable growth since then.
This book explores 2010s Hong Kong film industry, focusing on its (presumably) independent sector. Although frequently mentioned in global film industry studies, the term ‘independent film’ does not always carry a clear meaning. Starting with this point, this book studies closely Hong Kong’s new indie cinema of the 2010s from political, economic, social, cultural, and film industrial perspectives, arguing that this indie cinema was vital to the long-term sustainability of the city’s film industry.
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