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This paper addresses the current political predicament in Hong Kong. However, rather than offering a casual political commentary on the current state of identity politics of Hong Kong, it offers a critical and historical evaluation of the ideas and practices of ‘Reunion in Democracy’ in the past decades. [ABSTRACT FROM PUBLISHER]

The paper focuses on the close collaborative work our research team has been engaged in with two local schools to study how action research measures may help to facilitate the improvement of the Integrated Humanities (IH) curriculum through school-university partnerships. It attempts to understand action research as a form of cultural practice for education, and examines how such collaborative work with local schools may contribute to sustainable cultural work of education and intervene at different levels of the schooling practices. In all, the paper seeks to offer preliminary analysis and reflection on the re-orientation of Cultural Studies as a research and problem-solving, intellectual and critical project with a potential for long-term input to cultural policy-making. It also aims at examining the role of cultural studies practitioners as action researchers in the process of doing cultural work of education. [ABSTRACT FROM AUTHOR]

Cultural studies, as a cultural and political re-articulation of common sense, knowledge and community practices, aims at opening up new cultural space for criticisms, reflections and action. Originating from the women's movement and later flourishing in the academy as well, feminism espouses similar aims to cultural studies. Both cultural studies and feminist/gender studies have a strong sense of intervening into everyday life politics. This paper is an attempt to discuss how feminism and cultural studies interface with each other, largely based on examples of gender-related everyday life politics taken from the feminist movement in Hong Kong. It will examine issues concerning the conflict of consumption and female subjectivities, the reconceptualization of home and housewives, and the representation of everyday life for women and history writing. It is argued that by blurring, negotiating or deconstructing the boundary or division between positions, identities and domains—such as subject and object, housewives and workers, private and public, personal and political, consumption and production—the re-articulation of knowledge about 'victim', 'exploitation', 'home' and 'history' in the feminist movement will not only provide the movement with new impetus and insight to reconsider its strategies in fighting for more cultural, social and economic space for women and other marginal groups at large in Hong Kong, but will also 'metabolize' the newly developed discipline of cultural studies in Hong Kong by providing a platform to strengthen the dynamic arm of cultural studies education and research. Based on her feminist and teaching experiences in Hong Kong, the author has highlighted activism and pedagogy as the two important dimensions of feminism and cultural studies in this paper. [ABSTRACT FROM AUTHOR]

Asylum seekers and refugees tend to be marginalized in physical and discursive spaces, especially in times that are orchestrated as socially, politically, financially and environmentally risky. This article explores the interrelationship between genre and social space from the perspective of asylum seekers and refugees, and how refugees and asylum seekers in the USA, Germany and Hong Kong exposed spaces of risk through testimonio (testimonio is a genre term used throughout the paper and will be explained later). Asylum seekers and refugees testified to social practices like lengthy asylum processes, immobility, criminalization of asylum seekers, or distrust by locals in virtual space and in face-to-face encounters. Testimonio, thus, reflected on social practices and through this reflection, exposed spaces of risk that threatened the well-being of forced migrants. However, asylum seekers did not dwell in those spaces of risk. By publishing testimonios in virtual environments, some asylum seekers became agents of their biographies and created spaces in which they could voice themselves on their own terms. [ABSTRACT FROM PUBLISHER]

Drawing on findings from the extensive questionnaire survey and intensive case studies we conducted in Hong Kong secondary schools, this paper examines the interactions, tensions and gaps among the various stakeholders' visions, concerns and priorities as identified in the ongoing school reform. We examine the classroom dynamics of teaching and learning, the interactive pedagogical relationship involved, as well as the embedded institutional complexity in the schooling process, in order to understand what underlies the curriculum policy and education reform within the mainstream system. In view of the paramount significance of its evolvement in actual operation, we argue that education reform ought to be taken pragmatically but programmatically as the complexly embedded cultural process in which all the local practices and values of its stakeholders operate in the same cultural space. By conducting research on that interlocking cultural process, we also identify new options for Cultural Studies when education is taken seriously as the core of our intellectual project. [ABSTRACT FROM AUTHOR]

This paper examines some of the current metacritical perspectives to postcolonial cultural studies, and discusses an alternative cultural contextualist perspective through the case of Hong Kong cultural studies. I first demarcate between contextualist and non-contextualist metacritical perspectives as well as between political-economic and cultural-contextualist ones. Then I identify major metacritiques that are currently made against postcolonial studies, and by showing how they may be applicable to Hong Kong cultural studies, I suggest ways to re-interpret these metacritiques from a cultural sociological perspective. I shall highlight important structural characteristics of Hong Kong cultural studies, and analyse them in terms of a cultural sociology of the postcolonial intellectual field. Ultimately, I argue that the problems associated with this postcolonial intellectual field appear to originate from the hierarchical global cultural context. [ABSTRACT FROM AUTHOR]

Although the globalized world has multiple modernities, it retains a power vector which is centripetal to developed centres. I propose to use the concept 'satellite modernities' to refer to the magnetic sites between centres of high-modernity and developing modernites in the rest of the world. In developing countries, newly modernized cities are reproducing, hybridizing, and domesticating a simplified western modernity, a modernity that is in turn consumed by less developed cities and territories within the same regions. Throughout Asia, these satellite sites draw migrants from all over the region to realize the dreams of the global west in the relative security and comfort of regional localities. In this paper, I investigate the consumption histories and practices of immigrants who have crossed the cultural boundary of post-socialist China into the cultural spaces of Hong Kong in different periods of time. This is a mid-range theoretical exercise that attempts to ground such concepts as modernity, consumption, and identity formation in concrete boundary-crossing experiences of Chinese immigrants. [ABSTRACT FROM AUTHOR]

Through an extensive allegorical reading of films, this paper attempts to capture a certain cultural form of imagination in Hong Kong during the transitional period leading up to the historical handover of power in 1997. Dwelling on the world of signification conjured up through what I call the jianghu filmic imaginary,the analysis focuses on the ideological and utopian impulses registered in relation to a whole emotional complex of anxiety, bewilderment and despair in the works of some highly creative local filmmakers of the genre: Ching Siu-Tong, Ann Hui, Tsui Hark and Wong KarWai. The study draws theoretically from Castoriadis's notion of the social imaginary and Bloch's aesthetics of hope, to focus on the textual and contextual re-constructions of a number of very unconventional martial arts swordplay (wuxia) films made in Hong Kong in the last two decades: namely, Tsui's Butterfly Murders (1979), Hui's Romance of Book and Sword (1987), Ching/Tsui's Swordsman II (1992), and Wong's Ashes of Time (1994). By identifying the ideological and affective moments in the filmic imaginary,I want to trace what has been left in a ruined culture for utopian longings, and point to the presence/absence of 'hope' as the cultural imagination for an unknown and unknowable future (beyond 1997). It is my contention that an understanding of that peculiar form of popular imaginary at the unusual juncture of Hong Kong's history can begin with a critical attempt to cope with this subtle practice of hope, so as to recognize (or reject) it as mediation in the process of our collective cultural crisis, anticipation and identification. [ABSTRACT FROM AUTHOR]