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This article is one outcome of research into primary documents held in national archives in Malaysia, Singapore, the United Kingdom and, in Hong Kong, the archives of Radio Television Hong Kong and Hong Kong Public Records Office.1 These documents indicate how the territories of Malaysia, Singapore and Hong Kong responded to calls to develop television broadcasting systems which embodied public service broadcasting (PSB). That response was conditioned by the reality that all three territories were authoritarian entities, and that PSB was, in contradistinction, a liberal-democratic concept. This article will chart the problems involved in establishing television PSB in these territories, beginning with Malaysia and Singapore during the 1960s, and then Hong Kong, 1970–2020. The article will begin with a brief account of the notion of PSB, and the role played by western broadcasting companies during the Cold War, in colonial British South East Asia, during the 1950s and 1960s. [ABSTRACT FROM AUTHOR]

Hong Kong's two terrestrial broadcasters, Asia Television (ATV) and Television Broadcasts Ltd. (TVB), are uncharacteristic of other broadcasters in a number of respects, and this influences the documentary films that they produce. This unusual aspect is largely due to Hong Kong's almost unique situation as a Western non-democratic British colony in the East which went on under duress to become a component entity of an Eastern totalitarian communist State. Though this colonial and post-colonial totalitarian context rarely affected documentary film-makers at ATV and TVB in a blatant manner, and broadcasting staff within the organisations also resisted political encroachment when it arrived, that context nevertheless ensured that restrictions were placed upon the ability of the film-makers to produce critical, impactful films. This article will first explore how these two broadcasters can be associated with models of relations between the media and the state. The relationship to mainland China will then be referred to. Following this, an outline of the television documentary films of these broadcasters will be given, before a more in-depth account of particular films is provided. The article will conclude via reference to Habermas’ notion of the public sphere, and by offering proposals for change and improvement to this broadcasting output. [ABSTRACT FROM PUBLISHER]

The article presents a historical overview of British government-run filmmaking in the colony of Hong Kong during the 1930s and 1940s. Particular focus is given to the struggle between the Colonial Office (CO) of the British Colonial Film Unit (CFU) and the documentary film movement in Great Britain known as Griersonian tradition, after the filmmaker John Grierson. Additional topics include World War II propaganda films produced by the CFU and the British Ministry of Information (MoI) to promote British aims in its colonies during the conflict and differences in film production in large and small British colonies.