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Journal articles on the topic 'Hong Kong horror fiction'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Wang, Kai, and Nan Li. "ANALYSIS OF HONG KONG ZOMBIE MOVIES AUDIOVISUAL LANGUAGE IN THE 1980S." International Journal of Law, Government and Communication 7, no. 29 (2022): 18–26. http://dx.doi.org/10.35631/ijlgc.729002.

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As a subcultural type of genre film, Hong Kong zombie films play an important role in Hong Kong films. Hong Kong zombie films through visual languages such as color, light, lens, and auditory language such as language, music, and audio create a horror atmosphere and infect the emotions of the audience. The use of audiovisual language also implies the ideological representation of the collision between China and the West in Hong Kong in the 1980s.

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2

Li, Xiaofan Amy. "Neo-Surrealism in Hong Kong: The Fiction of Hon Lai-chu and Dorothy Tse." Journal of Modern Literature 48, no. 3 (2025): 94–112. https://doi.org/10.2979/jml.00086.

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Abstract: Although the fiction of Hong Kong writers Hon Lai-chu and Dorothy Tse Hiu-hung are frequently described as “surreal,” does this term have critical purchase beyond its misleading vernacular use for anything that appears bizarre and fantastical? In Hon’s Empty Faces and Tse’s Owlish, Surrealism proves to be deeply relevant to both writers. Surrealist visuality prioritizes the novels’ literariness and resists reading Hong Kong literature as political allegory. The precarious human face in Hon and the uncanny doll figure in Tse re-enact surreal experiences of disquietude and liminality.

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3

Marchetti, Gina. "Documentary and democracy: An interview with Evans Chan." Asian Cinema 33, no. 2 (2022): 257–75. http://dx.doi.org/10.1386/ac_00059_7.

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Gina Marchetti’s interview with NewYork-based Hong Kong independent filmmaker Evans Chan took place after Chan had said goodbye to his former home and to nearly three decades of filmmaking in the city, following the introduction of Hong Kong’s National Security Law in 2020. Her interview focuses on Chan’s non-fiction filmmaking, particularly his recent films dealing with Hong Kong’s two protest movements of 2014 and 2019, namely Raise the Umbrellas 撐傘 () and We Have Boots 我們有雨靴 (). While the latter part of the interview concerns Chan’s thoughts on the relationship between documentaries and dem

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Sia, Tiffany. "New Territories." Film Quarterly 76, no. 4 (2023): 9–21. http://dx.doi.org/10.1525/fq.2023.76.4.9.

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What is the “Hong Kong” cathected through film, both past and present? The central project shared by parallel visions of Hong Kong––former and contemporary, narrative fiction and nonfiction documentary, commercial and independent––is that of how to encounter and (re)vivify the past through cinema. But how is it possible to move toward the past, especially the recent past, without a nostalgia tinged by sentimentality or an inherent longing for a fantasy of the past? Chan Tze-woon’s Blue Island offers up a unique challenge to Hong Kong cinema, contesting the former tropes of the sentimental and

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5

Yeung, Jessica Siu-yin. "Hong Kong Literature and the Taiwanese Encounter: Literary Magazines, Popular Literature and Shih Shu-Ching's Hong Kong Stories." Cultural History 12, no. 2 (2023): 224–50. http://dx.doi.org/10.3366/cult.2023.0288.

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This article examines the ways literary adaptations between Hong Kong and Taiwanese writers shape literary cultures in both places during the Cold War period. The 1950s and 1960s were the time when Hong Kong and Taiwan literary cultures were starting to thrive. An influx of literati into both places collaborated with each other and the locals to experiment with literary forms in literary magazines. The 1950s and 1960s were also the time when Hong Kong and Taiwan cinema experienced the first waves of adapting literary works into film in the postwar period. After the literary magazine culture dw

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6

Xin Yi, Wong, Mansour Amini, and Maryam Alipour. "Genre and Translation Style in Chinese Translation of Hollywood Blockbuster Movie Titles in Mainland China and Hong Kong." Journal of Modern Languages 33, no. 2 (2023): 120–43. http://dx.doi.org/10.22452/jml.vol33no2.7.

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The title of a movie is the first to attract the audience's attention. Poorly translated movie titles may result in a “low box office”, as translators in different countries have their styles and preferences in translating film titles, which might eventually result in different translations of the same movie title and cause confusion to the audience. This qualitative research used exploratory induction to investigate the influence of genre and translation style on the Chinese translation of Hollywood blockbuster movie titles in Mainland China and Hong Kong. Titles of 300 Chinese movies produce

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7

Bachner, Andrea. "From China to Hong Kong with Horror Transcultural Consumption in Fruit Chan’sDumplings." Interventions 20, no. 8 (2018): 1137–52. http://dx.doi.org/10.1080/1369801x.2018.1460217.

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8

Shen, Shuang. "Popular Literature in the Inter-imperial Space of Hong Kong and Singapore/Malaya." Prism 19, no. 2 (2022): 301–18. http://dx.doi.org/10.1215/25783491-9966657.

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Abstract This article addresses the neglect toward popular literary networks with Hong Kong in the Cold War period by influential Mahua scholars. Aiming to make way for a more robust discourse of cultural politics in tandem with a regional conceptualization of Sinophone cultural production, the article proposes to understand popular forms such as romance fiction as arising from and coconstituting a regional Sinosphere that can only be understood, following Laura Doyle's recent study, as inter-imperial. Offering a reading of the Hong Kong writer Liu Yichang's romantic fiction and immigrant stor

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9

Yung, Faye Dorcas. "The Silencing of Children's Literature Publishing in Hong Kong." International Research in Children's Literature 13, Supplement (2020): 159–74. http://dx.doi.org/10.3366/ircl.2020.0344.

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Children's literature publishing in Hong Kong is supposed to enjoy the freedom of a free market economy and legal autonomy. However, the market structure and the titles available in the market dominated by imported titles reveal that children's books published in Hong Kong have little room to feature the local voice. The market conditions are tough and publishers are incentivised to publish for the larger Sinosphere market. As a result, Cantonese is absent in imported texts annotated with either Mandarin phonetics ruby characters in Hanyu Pinyin or Zhuyin symbols. Non-fiction picturebooks feat

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10

WU, Meng. "Fanning Out Possibilities: Dung Kai-cheung and the Multiplicities of Time." Modern Chinese Literature and Culture 34, no. 2 (2022): 420–44. http://dx.doi.org/10.3366/mclc.2022.0020.

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Hong Kong has brought to world literature some of the most prolific and best-loved fiction writers in modern Chinese history. Dung Kai-cheung is one of them — a Hong Kong-based writer who has found the city to be a constant source of inspiration. This article discusses the significance of multiplicity in Dung’s fictional representation of Hong Kong (“the V-City”), focusing on his 2007 novel Histories of Time: The Luster of Mute Porcelain. In this novel, Dung explores the narrative possibility of perceiving Hong Kong as a multi-historical space through the lens of multiplying temporalities. I h

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11

Yee Lin Ho, Elaine. "Women in Exile: Gender and Community in Hong Kong Fiction." Journal of Commonwealth Literature 29, no. 1 (1994): 29–46. http://dx.doi.org/10.1177/002198949402900104.

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12

Lopes, Helena F. S. "The handover moment: Representing transition in Chinese Box." Asian Cinema 36, no. 1 (2025): 3–21. https://doi.org/10.1386/ac_00085_1.

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This article reassesses Wayne Wang’s Chinese Box (1997) a quarter century after the film’s production with a focus on ‘transition’. It aims to ‘recover’ Chinese Box on different levels, arguing that this complex film is an important historical artefact from the handover period of Hong Kong and a clear film d’auteur to which the director’s vision is the key. In contrast with the cold critical reception of the film at the time of its release, this article posits that Chinese Box is an accomplished work of transnational cinema that, merging fiction and documentary, constitutes a powerful personal

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13

Cahill, Suzanne. "What to Fear and How to Protect Yourself: Daoism and Hong Kong Horror Movies." Journal of Daoist Studies 4, no. 1 (2011): 202–18. http://dx.doi.org/10.1353/dao.2011.0010.

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14

오계영 and 임춘미. "The Construction of Hong Kong Identity in Xi Xi’s Works of Fiction." Journal of Study on Language and Culture of Korea and China ll, no. 26 (2011): 293–312. http://dx.doi.org/10.16874/jslckc.2011..26.013.

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15

Lashin, Roman. "     Hong Kong Scholar’s Troubled Identity in Dorothy Tse’s <em>Owlish</em>." Writing Chinese: A Journal of Contemporary Sinophone Literature 2, no. 1 (2023): 16–33. http://dx.doi.org/10.22599/wcj.42.

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Owlish is a part-realist part-surreal tale of a disgruntled professor in Hong Kong’s fictional double Nevers who unexpectedly falls in love with a ballerina doll. The novel’s plot unfolds against the backdrop of the growing pressure on Hong Kong’s freedoms and its very identity resulting in protests – events concealed by the veil of Dorothy Tse’s inventive language but still unmistakably discernable. This essay approaches Owlish as an academic novel i.e. literary work concerned with university professors and the vicissitudes of their lives within and outside the campus walls. The novel's prota

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16

Jayawickrama, Sharanya. "Metonymic Figures: Cultural Representations of Foreign Domestic Helpers and Discourses of Diversity in Hong Kong." Cultural Diversity in China 3, no. 1 (2018): 1–16. http://dx.doi.org/10.1515/cdc-2017-0006.

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Abstract Foreign Domestic Helpers account for nearly half of Hong Kong’s total ethnic minority population and are therefore integral to any discussion of diversity in the postcolonial, global Chinese city. In Asia, discourses of diversity have evolved from the juncture of complex historical, political, and cultural factors including colonialism, postcoloniality, traditional and precolonial customs and values, religious and spiritual beliefs, as well as Western-derived liberal-democratic discourses of rights and citizenship. “Diversity” has been identified as one of the core values and attribut

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17

Ruvinskiy, Roman. "The Hong Kong problem: popular sovereignty, centralization, and the challenges of the crisis age." Sravnitel noe konstitucionnoe obozrenie 33, no. 4 (2024): 107–27. https://doi.org/10.21128/1812-7126-2024-4-107-127.

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In recent years, Hong Kong, a former British colony and now a region with special status within the People’s Republic of China, has become the object of increased attention from Beijing and the scene of large-scale civil protests. The central government of the PRC has attempted to secure greater control over the region through legislative interventions and neutralize growing political opposition; at the same time, residents of Hong Kong, resisting imposed control and demanding greater democratic participation in regional affairs, are becoming increasingly aware of their own political identity,

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18

Chen, Jack W. "Love and Women in Early Chinese Fiction. By Daniel Hsieh. Hong Kong: Chinese University of Hong Kong Press, 2008. 331 pp. $39.00 (cloth)." Journal of Asian Studies 68, no. 1 (2009): 268–70. http://dx.doi.org/10.1017/s0021911809000242.

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19

Li, Jessica Tsui-yan. "Digital Culture in Hong Kong Canadian Communities: Literary Analysis of Yi Shu's Fiction." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 44, no. 2 (2017): 191–201. http://dx.doi.org/10.1353/crc.2017.0017.

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20

Zhang, Jiaxue. "A Study of Urban Writing in My City from The Perspective of Fairy Tales." International Journal of Education and Humanities 5, no. 3 (2022): 89–90. http://dx.doi.org/10.54097/ijeh.v5i3.2458.

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This paper reconstructs a different textual city from previous ones by starting from a fairy-tale perspective as well as adopting a unique artistic approach of narrative modernity. Xixi's My City, taking the narrative style as the starting point, by exploring the narrative subject, narrative method and narrative structure, writing light urban literature, organically integrating urban aesthetics and textual fiction, properly embodying the complexity of Hong Kong literature and expanding the readability of text, and deeply peeking into the value and significance behind urban writing research.

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21

Murniati, Tri. "One place two stories: Unravelling Indonesian domestic workers’ migrant journey in Hong Kong." Crossings: Journal of Migration & Culture 12, no. 2 (2021): 495–511. http://dx.doi.org/10.1386/cjmc_00047_1.

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Following the year 2002, Indonesian migrant domestic workers (IDWs) gradually transform the generic perception that they are merely physical workers. They have attracted a different form of attention as they began to publish novels, short stories, poetry anthologies and non-fiction writings. In this paper, two books on IDW ‐ namely, Susanti’s Tentang Sedih di Victoria Park (‘About sadness in Victoria Park’) and Sorrita’s Penari Naga Kecil (‘The little dragon dancer’) ‐ are examined and analysed to further explore the subtext underlying the stories. I argue that IDWs’ narratives offer an altern

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22

Shu, Jack. "Ethnodrama with Hong Kong problem gamblers and their family: between ethnographic reality and dramatic fiction." Research in Drama Education: The Journal of Applied Theatre and Performance 25, no. 2 (2019): 302–8. http://dx.doi.org/10.1080/13569783.2019.1667225.

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23

Venkatesh, Vinodh. "Andrew Hock Soon Ng, Intimating the Sacred: Religion in English Language Malaysian Fiction, Hong Kong: Hong Kong University Press 2014, 281 pp., ISBN 978-988-8083-21-3." Religion and Gender 4, no. 2 (2014): 252–54. http://dx.doi.org/10.1163/18785417-00402017.

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24

Hillenbrand, Margaret. "Murakami Haruki in Greater China: Creative Responses and the Quest for Cosmopolitanism." Journal of Asian Studies 68, no. 3 (2009): 715–47. http://dx.doi.org/10.1017/s0021911809990039.

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The relationship between popular culture and East Asian identity is now an established field of enquiry, with the products of Japan's mass media industries—television series, pop stars, and manga—still providing much of the fuel for debate. This paper, however, moves away from the dominant notion of “culture as industry,” and explores animated personal responses to the fiction of Japanese writer Murakami Haruki in Hong Kong, China, and Taiwan through art house cinema, popular fiction, and online creative communities. The vogue for Murakami has swept across the region in recent years, and for m

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25

LaFleur, Frances, and Michael S. Duke. "Worlds of Modern Chinese Fiction: Short Stories and Novellas from the People's Republic, Taiwan, and Hong Kong." World Literature Today 67, no. 1 (1993): 233. http://dx.doi.org/10.2307/40149034.

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Venkatesh, Vinodh. "Review of Andrew Hock Soon Ng, Intimating the Sacred: Religion in English Language Malaysian Fiction, Hong Kong: Hong Kong University Press 2011, 281 pp., ISBN 978-988-8083-21-3." Religion and Gender 4, no. 2 (2014): 252. http://dx.doi.org/10.18352/rg.9842.

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27

Coover, Roderick, David Jhave Johnston, and Scott Rettberg. "The Poetics of Combinatory Cinema: David Jhave Johnston interviews Roderick Coover and Scott Rettberg." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (2014): 108–29. http://dx.doi.org/10.7146/se.v4i1.20329.

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For the past several years filmmaker Roderick Coover and fiction writer Scott Rettberg have collaborated on a series of film and digital media projects that address climate change, environmental catastrophe, cross-cultural communication and combinatory poetics. Working between Philadelphia, USA, where Coover directs the graduate programme in Film and Media Arts at Temple University, and Bergen, Norway, where Rettberg is Professor of Digital Culture at the University of Bergen. Their projects, including The Last Volcano, Rats and Cats, Three Rails Live (with Nick Montfort) and Toxi•City, deal t

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28

Li, Li, and Immaculate Kizito Namukasa. "From Digital Storytelling to Design Fiction: Pedagogical Innovations in AI Education for K-12." Journal of Digital Life and Learning 5, no. 1 (2025): 1–24. https://doi.org/10.51357/jdll.v5i1.335.

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In today’s world, AI is not just for experts—it is woven into our daily lives. This makes it essential for students, even at the K–12 level, to develop the skills and understanding to engage meaningfully with AI. This paper explores two narrative-based pedagogical approaches—Digital Storytelling (DST) and Design Fiction Pedagogy (DFP)—for AI education in K–12 contexts. We first compare DST and DFP’s theoretical foundations, educational goals, tools, and affordances. While DST fosters student creativity and digital literacy through personal narrative, DFP extends this by integrating speculative

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29

Yeung, Chui Ling, Chi Fai Cheung, Wai Ming Wang, Eric Tsui, and Wing Bun Lee. "Managing knowledge in the construction industry through computational generation of semi-fiction narratives." Journal of Knowledge Management 20, no. 2 (2016): 386–414. http://dx.doi.org/10.1108/jkm-07-2015-0253.

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Purpose Narratives are useful to educate novices to learn from the past in a safe environment. For some high-risk industries, narratives for lessons learnt are costly and limited, as they are constructed from the occurrence of accidents. This paper aims to propose a new approach to facilitate narrative generation from existing narrative sources to support training and learning. Design/methodology/approach A computational narrative semi-fiction generation (CNSG) approach is proposed, and a case study was conducted in a statutory body in the construction industry in Hong Kong. Apart from measuri

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30

Forman, Ross. "Projecting from Possession Point: Hong Kong, Hybridity, and the Shifting Grounds of Imperialism in James Dalziel's Turn-of-the-Century Fiction." Criticism 46, no. 4 (2005): 533–74. http://dx.doi.org/10.1353/crt.2005.0014.

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31

Joana, Joana, and Liliek Soelistyo. "Call Me Bathsheba: A Novel Exploring the Impacts of Patriarchal Culture on the Prostitution Industry." K@ta Kita 9, no. 3 (2022): 348–55. http://dx.doi.org/10.9744/katakita.9.3.348-355.

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This creative work follows the journey of the daughter of a prostitute, in her attempt to survive after being kicked out of the house and find the biological mother whom she never met. It explores the theme of patriarchal culture that impacts prostitution industry and the complication of it.This realistic fiction novel was set in three countries which are China (Hong-Kong), Singapore, and Indonesia. The story highlights the reasons women enter prostitution explored in Barry’s The Prostitution of Sexuality theory, and the physical and pyscho-social impacts of slut-shaming happened to women pros

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32

Shi, Bingbing. "     The Internet, Shanghaiese Novel, and the Literary Memory of <em>Blossoms</em>." Writing Chinese: A Journal of Contemporary Sinophone Literature 3, no. 1 (2024): 53–75. https://doi.org/10.22599/wcj.71.

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The advent of the internet has significantly impacted Sinophone literature. However, when discussing the relationship between the internet and literature, most scholars focus on genre fiction, whereas Jin Yucheng’s (金宇澄, 1952-) novel Blossoms (繁花) stands as an exception to this paradigm despite being first posted online. Focusing on the societal conditions and human relationships in Shanghai during both the 1960s and 1990s, the novel Blossoms was recognised as a literary classic by officials, academics, and general readers, and was adapted into a TV drama by Hong Kong director Wong Kar-wai (王家

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33

Long, Chao. "Writing the Hong Kong self: fiction, artifacts and the making of history in Dung Kai-cheung’s Works and Creation: Vivid and Lifelike." Inter-Asia Cultural Studies 24, no. 2 (2023): 238–52. http://dx.doi.org/10.1080/14649373.2023.2182938.

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34

Sorrell, David, and Gavin T. L. Brown. "A comparative study of two interventions to support reading comprehension in primary-aged students." International Journal of Comparative Education and Development 20, no. 1 (2018): 67–87. http://dx.doi.org/10.1108/ijced-08-2017-0018.

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Purpose The purpose of this paper is to explore the explicit teaching of information text schema with vocabulary instruction to primary-aged students in Hong Kong international education. Design/methodology/approach Data were collected through three quasi-experimental studies with different age groups and participants. Each study divided participants into two randomly assigned groups, either informational texts (IT) or vocabulary building (VB). Impact was evaluated with gain scores on a standardized reading comprehension test and researcher-designed cloze tests of fiction and nonfiction passag

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35

Zhang, Yu. "A Collective Fantasia of the Financial Age in Early 1990s China: Erotic-Speculative Sensation, Neoliberal Labor Heroine, and Presentist Worldly Wisdom." positions 32, no. 3 (2024): 573–600. http://dx.doi.org/10.1215/10679847-11164501.

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Abstract When the notion of “finance” reentered ordinary Chinese people's lives since the “Reform and Opening Up,” how were “finance and economics” (caijing) perceived and felt? This essay focuses on the mainland critics’ reviews of the “finance-themed” novels by the Hong Kong entrepreneur-cum-writer Leung Fung Yee (b. 1949) and discusses how “Leung fever” (1992 – 93) provided a medium for a collective imagination of the financial age. Leung's fiction introduced “sensuous and lively” financial knowledge particularly attractive to a financially uneducated mainland readership who nonetheless des

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36

Banh, Jenny. "“I Have an Accent in Every Language I Speak!”: Shadow History of One Chinese Family’s Multigenerational Transnational Migrations." Genealogy 3, no. 3 (2019): 36. http://dx.doi.org/10.3390/genealogy3030036.

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According to scholar and Professor Wang Gungwu, there are three categories of Chinese overseas documents: formal (archive), practical (print media), and expressive (migrant writings such as poetry). This non-fiction creative essay documents what Edna Bonacich describes as an “middleman minority” family and how we have migrated to four different nation-city states in four generations. Our double minority status in one country where we were discriminated against helped us psychologically survive in another country. My family history ultimately exemplifies the unique position “middleman minority”

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37

Багаутдинова, Гульзада Гадульяновна. "The Frigate Pallada by I. A. Goncharov as a Literary Monument of Artistic Ethnology." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 5 (December 10, 2019): 181–88. http://dx.doi.org/10.26158/tk.2019.20.5.015.

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Жанровая природа «Фрегата “Паллада”» И. А. Гончарова сложна и эклектична. Несмотря на ее мозаичность, структура текста отличается четкостью, она выверена и хорошо продумана. В этом произведении повествуется о разных странах, континентах, а также населяющих их народах и этносах. В статье рассматривается одна из глав книги с точки зрения художественно-этнологического дискурса: автор-повествователь описывает нравы, род занятий, этнические особенности китайского народа, но делает это весьма живо, занимательно, эмоционально, т. е. на художественном уровне. Основным композиционным принципом произвед

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38

Anderson, Marston. "The Russian Hero in Modern Chinese Fiction. By Mau-sang Ng. SUNY Series in Chinese Philosophy and Culture. Albany: State University of New York Press and Hong Kong: Chinese University Press, 1988. xvi, 332 pp." Journal of Asian Studies 48, no. 2 (1989): 370–72. http://dx.doi.org/10.2307/2057409.

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39

Eide, Elisabeth. "Michael S. Duke (ed.): Worlds of modern Chinese fiction: short stories and novellas from the People's Republic, Taiwan and Hong Kong. xiii, 344 pp. Armonk, N.Y. and London: M. E. Sharpe Inc., 1991: $45 (paper $16.95)." Bulletin of the School of Oriental and African Studies 55, no. 3 (1992): 580–81. http://dx.doi.org/10.1017/s0041977x00004122.

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40

Brandauer, Frederick P. "Chinese Middlebrow Fiction from the Ch'ing and Early Republican Eras. Edited by Liu Ts'un-yan, with the assistance of John Minford. Hong Kong: Chinese University Press, 1984. viii, 372 pp. Notes on Contributors, Notes on Illustrations. $35." Journal of Asian Studies 44, no. 3 (1985): 599–601. http://dx.doi.org/10.2307/2056289.

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41

McDougall, Bonnie S. "Ng Mau-sang: The Russian hero in modern Chinese fiction. (SUNY series in Chinese Philosophy and Culture.) xv, 332 pp. Hong Kong: Chinese University Press; Albany, N.Y.: State University of New York Press, State University of New York Press, 1988. $39.50 (paper $12.95)." Bulletin of the School of Oriental and African Studies 53, no. 1 (1990): 175–77. http://dx.doi.org/10.1017/s0041977x00021807.

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Pollard, D. E. "Stephen C. Soong and John Minford (ed.): Tress on the mountain: an anthology of new Chinese Writing. (Renditions Book Series.) 396 pp. Hong Kong: Chinese University Press, 1984. - Michael S. Duke(ed.): Contemporary Chinese literature: an anthology of post-Mao Fiction and poetry. (An expanded version of the Bulletin of Concerned Asian Scholars, Col. 16, No. 3,1984.) 137 pp. New York: M.E.Sharpe, Inc., 1985. - Zhao Zhenkai: Waves. Transl. by Bonnie S. McDougall and Susette Ternet Cooke. 216 pp. Hong Kong: Chinese University Press, 1985." Bulletin of the School of Oriental and African Studies 50, no. 3 (1987): 587. http://dx.doi.org/10.1017/s0041977x00040039.

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43

Lai-ming, Tammy Ho. "Hong Kong is a Science Fiction." Law Text Culture 18, no. 1 (2014). http://dx.doi.org/10.14453/ltc.559.

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In the early 1980s, China’s state leader Deng Xiaoping put forward the scientific concept known as ‘one country, two systems’ in an effort ‘to realize the peaceful reunification of China’, and this ingenious design was first applied to solve the question of Hong Kong.

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44

Overbeeke, Bram. "A Palimpsest of Hong Kong Futures Across Three Fictions (1962–2046)." Journal of Chinese Film Studies, August 27, 2024. http://dx.doi.org/10.1515/jcfs-2023-0053.

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Abstract Hong Kong has been located in the future tense throughout various genres of writing and popular culture, serving as a model for free-market neoliberal thinkers, as a proof-of-concept for future national reunification and as the backdrop for techno-orientalist and cyberpunk narratives. Paradoxically, within recent Hong Kong cultural productions and civil society debates is often a strong sense of a foreclosed future. This paper traces three fictions that together navigate the shifting temporalization of Hong Kong, from Wong Kar Wai’s 2046 (2004), which adapts the pulp fiction writer fr

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Chao, Yitian. "Legend and Fairy Tale: Research of the Urban Texts of Eileen Chang and Xi Xi." Arts, Culture and Language 1, no. 7 (2024). http://dx.doi.org/10.61173/p0bp1s96.

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As a category of literature springing up in a transition period, urban literature has more or less ingredients of modernity and territoriality. Hong Kong has unique urban characteristics thanks to its twisted fate and multiculturalism, which are the background of many writers’ works. As a result, works about Hong Kong are excellent materials for research in urban literature. Eileen Chang and Xi Xi, both born in Shanghai and settled in Hong Kong for a long time, have complexes varying from cityscape, portrayal, and living habits, which were affected by colonialism at different times. The great

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Qin, Qintong. "Comparison of Translation of Movie Titles in Mainland China, Hong Kong, and Taiwan—Transcreation in Restricted Film Titles." Arts, Culture and Language 1, no. 7 (2024). http://dx.doi.org/10.61173/3kadj748.

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Nowadays, it has become more common to edit film titles through transcreation to better align with local audiences’ aesthetic preferences and cultural values. Therefore, studying the translation of movie titles in different regions, such as Mainland China, Hong Kong, and Taiwan, has also become a popular topic. However, most studies have not classified the films but compared them generally. Therefore, the theme of this study is to compare the translation of restricted film titles in Mainland China, Hong Kong, and Taiwan through transcreation. This research compares the transcreation of action

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Zak, Leila. "Tierra y mar." Latin American Literary Review 50, no. 101 (2023). http://dx.doi.org/10.26824/lalr.398.

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Leila Zak writes in English and Spanish. She won Oxford’s Spanish Flash Fiction Competition for her piece ’Salvavidas’ in 2022. Her research interests, however, are cross-continental. Inspired by her volunteer work with refugees in Hong Kong, she wrote a debut novel Displaced and Erased (which was self-translated into Spanish). The following collection of three poems, Tierra y mar, presents an exploration of the generational silencing of indigenous languages and cultures in Latin America that has come with colonialism and forced-assimilation. She lives in Hong Kong.

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Chao, Di-kai, and Riccardo Moratto. "Poetics of Propensity in Sinophone Fiction An Analysis of Lai Hsiang-yin and Lee Wai Yi’s Ghost Narrative." 59 | 2023, no. 1 (August 29, 2023). http://dx.doi.org/10.30687/annor/2385-3042/2023/01/016.

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This study aims to analyse two novellas, namely “Rain Tree” (“Yudou shu” 雨豆樹) by Lai Hsiang-yin 賴香吟 (2017) from Taiwan and “Away” (“Li” 離) by Lee Wai Yi 李維怡 (2018) from Hong Kong. This article attempts to understand how non-corporeal or non-representational ghost narratives become a mobile strategy for re-investigating mainstream narratives or the violence of modernity. Through the ‘de-temporalisation’ of the city and the momentary folding of time and space, Rain Tree reconsiders the meaning of Taiwan as a superior signifier. Away endeavours to reveal the ghostly nature underneath the instrume

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Marchetti, Gina. "The Networked Storyteller and Her Digital Tale: Film Festivals and Ann Hui’s 'My Way'." Winter 2021 1, no. 2 (2022). http://dx.doi.org/10.3998/gs.1702.

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In cooperation with China’s Youku online channel, the Hong Kong International Film Festival Society commissioned Ann Hui to make a short film, My Way, to be part of an omnibus production, Beautiful 2012. In order to be considered for this commission, Hui needed to be acknowledged at international film festivals and be a recognized auteur known in the Asian region and beyond. Without Hui’s festival credentials and the reputation of the other directors in the curated production, the collected shorts would have little appeal to other programmers and distributors. Although she has famously resiste

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Lo, Noble, and Huiwen Shi. "The perceptions of undergraduate students toward reading contemporary fiction in English: a case study of content-based ESL instruction at a self-financed tertiary institution in Hong Kong." Frontiers in Education 9 (August 7, 2024). http://dx.doi.org/10.3389/feduc.2024.1395168.

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IntroductionThe study explores the effectiveness of teaching English literature to Hong Kong undergraduate students, particularly in a general education course titled “Fiction and Life: Understanding Human Development.” This course marked the first exposure for students to book-length fiction in English and critical response written in English, revealing the efficacy of using fictional works as content-based ESL instruction at the tertiary level in Hong Kong.MethodsEmploying a mixed-methods approach, the study included questionnaires distributed to 310 students and thematic analysis of semi-st

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