The Hangover After The Handover

As a former British colony (1842-1997) and then a Special Administrative Region (from 1997 onwards) practicing the One Country Two Systems policy with the People's Republic of China, Hong Kong has witnessed at all times how relations are formed, dissolved and refashioned amidst changing powers, identities and narratives, given that the decisions that had moved the city in the past were not made upon the consensus of the local population. In its post-handover, post-hangover years, the 2014 Umbrella Movement and the 2019 Anti-Extradition Bill Protests among other events have revealed the multiple appearances and connotations of Hong Kong's local. At the intersections between real-life events, cultural production and consumption, the book is an interdisciplinary study that extracts and examineslocal relations through the lens of the things and places that stand or that have once stood for Hong Kong's local. With cultural icons as an agency, the book offers lessons to learn from the city by opening up manifold postcolonial perspectives to confront and interrogate the volatile experiences in the new millennia - unprecedented since the Cold War era - shared by Hong Kong and other regions. After all, what does it mean, or take, to live in the contemporary world when the local, global and national are constantly given new meanings?

As a former British colony (1842-1997) and then a Special Administrative Region (from 1997 onwards) practising the 'One Country Two Systems' policy with the People's Republic of China, Hong Kong has witnessed at all times how relations are formed, dissolved and refashioned amidst changing powers, identities and narratives, given the many names it possessed over the course of history. Via the lens of places, things and cultural icons, this book offers lessons to learn from Hong Kong by opening up manifold postcolonial, translocal and planetary perspectives to confront and interrogate the volatile experiences in the new millennia-unprecedented since the Cold War period of the twentieth century-shared by Hong Kong and other regions.

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.

How do film and television makers around the world depict public housing? Why is public housing so often chosen as the backdrop for drama, horror, social critique, rebellion, violence, artistic creativity, explorations of race relations and political intrigue? Home Screens answers these questions by examining the ways in which socialized housing projects around the world are represented on screen. The volume brings together a diverse group of interdisciplinary scholars, who explore documentary and fictional portrayals of the architecture of public housing, and the communities that inhabit it, ranging from the 1950s to the present. Examining international film and media texts such as Die Architekten (1990), Swagger (2016), Cooley High (1975), Mee-Pok Man (1995), Treme (2010–2013), Mamma Roma (1962), The Pruitt-Igoe Myth (2011), and Below the Lion Rock (1972–1976), essays within this book consider public and private attitudes toward socialised housing, explaining how onscreen representations shape perceptions of these ubiquitous, often-stigmatized urban locations.

This book foregrounds that English monolingualism reduces both our linguistic and conceptual resources, presenting concepts from the cultures of 4 continents and 26 languages. Concepts seem to work best when created in the interspace between theory and praxis, and between philosophy, art, and science. Deleuze himself had generated many concepts in this encounter between philosophy and non-philosophy, including his ideas of affects and percepts, of becoming, the stutter, the rhizome, movement-image and time-image, the rhizome. What happens, if instead of "other disciplines," we take other cultures, other languages, other philosophies? Does not the focus on English as a hegemonic language of academic discourse deny us a plethora of possibilities, of possible Denkfiguren, of possible concepts? Each contributor explores ideas that are key to thinking in their language – about sound and silence, voice and image, living and thinking, the self and the world - while simultaneously addressing the issue of translation. Each chapter demonstrates that translation itself is a way of invention, rather than just a rendering of concepts from one system in terms of another. This collection acts as a travelogue. The journey does not follow a particular trajectory-some countries are not on the map; some are visited twice. So, there is no claim to completeness involved here-it is rather an invitation to answer to the call.

This book constitutes the refereed proceedings of the 5th International Conference on Convergence and Hybrid Information Technology, ICHIT 2011, held in Daejeon, Korea, in September 2011. The 85 revised full papers presented were carefully reviewed and selected from 144 submissions. The papers are organized in topical sections on communications and networking; motion, video, image processing; security systems; cloud, RFID and robotics; industrial application of software systems; hardware and software engineering; healthcare, EEG and e-learning; HCI and data mining; software system and its applications.

Ornamentalism is a vividly evocative account of a vanished era, a major reassessment of Britain and its imperial past, and a trenchant and disturbing analysis of what it means to be a post-imperial nation today.