• Does Marxist perspective on popular culture as ideological reproduction apply in Hong Kong?
• What makes Hong Kong movies Hong Kong movies? Jackie Chan and his Kung Fu? Stephen Chow's nonsensical script lines?
• Heunggongyan identity in films? E.g. Golden Chicken/ 金雞, The Private Eyes/ 半斤八兩, / Ah Ying 半邊人, / Internal Affairs 無間道

In-class Activities:

Screening of segments of movies for discussion.

Suggested Presentation:

Analyze the "ideology" of a movie in HK. Do you agree with the Marxist perspective that most mainstream media products promote a dominant ideology supporting capitalism and the powerful in Hong Kong?

Required Readings

Du Gay, Paul (ed.) (1997). Production of Culture/Culture of Production. London: Sage Open University.
Law Wing Sang (2007). 「羅永生：時間的暴力．記憶的政治——電影 「無間道」 系列的寓言解讀」 http://www.inmediahk.net/public/article?item_id=199135&group_id=99 (In Chinese)
Marchetti, Gina (2007). Andrew Lau and Alan Mak's Infernal Affairs - The Trilogy. Hong Kong University Press.

Storey, John. (1996). Ch. 4. Film. Cultural studies and the study of popular culture: Theories and methods (pp. 54-74). Athens: University of Georgia Press.

Further Readings:

Jarvie, I.C. (1977) Window on Hong Kong: A Sociological Study of the Hong Kong Film Industry and its
Audience. Hong Kong: Center of Asian Studies. ch.3.

Lilley, R. (1993). Claming identity: Film and television in Hongkong. History and Anthropology. 6(2-3):
261-292.

Ma, Kit Wai. (2003) Hong Kong remembers: a thick description on electronic memory. In N. Pun & L-M. Yee
(Eds.) Narrating Hong Kong Culture and Identity (pp.557-577). Hong Kong: Oxford University Press.

Ng, Chun Hung. (2003). 「普及媒介建構本土意識」in Study Guide for Reading Hong Kong Popular Cultures 1970-2000, chapter 6, at http://www.hku.hk/hkcsp/ccex.html. (in Chinese)

Pang, Lai. Kwun.. (Eds.) (2005). Masculinities and Hong Kong Cinema. Hong Kong University Press.

Optional Readings:

Chu, Wing.Ki (2004). The Ambivalence of History: Nostalgia Films as Meta-Narratives in the Post-Colonial
Context. In Esther.M.K. Cheung & Yiu.Wai. Chu (Eds) Between Home and World: A Reader in Hong Kong Cinema. Hong Kong: Oxford University Press.

Fang, Karen. (2004). John Woo’s A Better Tomorrow. HK: Hong Kong University Press.

Gan, Wendy (2005). Fruit Chan’s Durian Durian. HK: Hong Kong University Press.

Hjort, Mette (2006). Stanley Kwan’s Centre Stage. HK: Hong Kong University Press.

Schroeder, A. (2004) Tsui Hark’s Zu: Warriors From the Magic Mountain. HK: Hong Kong University Press.

Tambling, Jeremy. (2003). Wong Ka Wai’s Happy Together. HK: Hong Kong University Press.

呂大樂 (1997) 《唔該，埋單！》香港：閒人行。20-31, 100-112頁。

馬傑偉 (1996) 「電視文化的歷史分析」 （等）收在吳俊雄、張志偉〔編〕 (2002) 《閱讀香港普及文化-1970-2000》

香港：牛津大學出版社，138-142，681-694頁。

吳俊雄、馬傑偉（2001）「普及文化與身份建構」收在廖迪生等（編）《香港歷史、文化與社會：教與學篇》
香港：香港科技大學華南研究中心，177-193頁。

章嘉雯 (1990) 「家在香港」（等）收在《攜改錯液赴考的一代》香港：青文，107-124頁。

梁款 (2004) “香港電視，香港故事〞收在《文化拉扯3－七情上面篇》香港：進一步出版社，142-143頁。

Online Resources:

Law, Wing Sang (2007) 「羅永生：時間的暴力．記憶的政治——電影 「無間道」 系列的寓言解讀」 < http://www.inmediahk.net/public/article?item_id=199135&group_id=99 >(In Chinese)