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Hong Kong Liminal: Situation as Method

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Hong Kong Culture and Society in the New Millennium

Part of the book series: The Humanities in Asia ((HIA,volume 4))

Abstract

What it might mean to posit ‘Hong Kong as method’ in a transnational context today? How can a fairly small, concrete place in an unusual situation ‘be’ a method? Drawing on the models of experience proposed in such Hong Kong films as Samson Chiu’s Golden Chicken 2 (2003) and Fruit Chan’s The Midnight After (2014), this chapter argues that the anthropological concept of ‘liminality’ offers ways to think about cultural production and social change in Hong Kong today. Discussing debates about method in the field of Inter-Asia Cultural Studies, I suggest that it is Hong Kong’s transitional situation, rather than simply its contested identity as a place, that makes it methodologically resonant now for thinking about cultural politics elsewhere.

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Notes

  1. 1.

    Yoshimi Takeuchi, “Asia as Method”, in What Is Modernity? Writings of Takeuchi Yoshimi, ed. and trans. Richard F. Calichman (New York: Columbia University Press, 2005), 165.

  2. 2.

    Ashish Rajadhyaksha, “Hong Kong from the outside: four keywords”. Inter-Asia Cultural Studies 16.3 (2015), 488.

  3. 3.

    On the “urban ritual” of cinema-going to watch domestic blockbusters at festive seasons and the different “temporal genres” that this social practice shapes, see Fiona Yuk-wa Law, “Making Merry in Time: A Feast of Nostalgia in Watching Chinese New Year Films”, in Esther M.K. Cheung, Gina Marchetti and Esther C.M. Yau, eds. A Companion to Hong Kong Cinema (Malden MA and Oxford: Blackwell, 2015), 391–409. Christmas, she notes, is a time for “comedies and warm-hearted family melodramas”.

  4. 4.

    Eva Wu, “City urged to unite despite fortune stick’s bad omen Sha Tin temple ceremony predicts year of disharmony”, South China Morning Post, January 28, 2009: 3.

  5. 5.

    Wong Kar-wai’s 2046 was released in 2004 and the film’s title refers to a mysterious place and room number rather than a calendar year. However the film was at least four years in the making, an eternity by Hong Kong standards, and it was commonplace in 2002–2003 to joke that it would not be finished until 2046.

  6. 6.

    On the consequential collision of economic, social and political events in that year see Yiu-wai Chu, Lost in Transition: Hong Kong Culture in the Age of China (Albany NY: SUNY Press, 2013), 9–12.

  7. 7.

    Article 23 of the Hong Kong Basic Law requires the HKSAR government to enact a national security and anti-subversion law. The proposed version of such a law put forward in late 2002 was widely perceived as threatening free speech; unable to pass the Legislative Council, the bill was shelved indefinitely. See Anne S.Y. Cheung and Albert H.Y. Chen, “The Search for the Rule of Law in the Hong Kong Special Administrative Region, 1997–2003” in “One Country, Two Systems” in Crisis: Hong Kong’s Transformation since the Handover, ed. Yiu-cheung Wong (Lanham: Lexington Books, 2004), 61–93.

  8. 8.

    Thanks to Linda Lai Chiu-han and Kimburly Choi Wing-yee for inviting me to write about Golden Chicken 2 for their World Film Locations: Hong Kong (Bristol and Chicago: Intellect Books and University of Chicago Press, 2013).

  9. 9.

    M.M. Bakhtin, The Dialogic Imagination: Four Essays, translated by Caryl Emerson and Michael Holquist, University of Texas Press, 1981, 248–249.

  10. 10.

    See John Nguyet Erni and Lisa Yuk-ming Leung, Understanding South Asian Minorities in Hong Kong (Hong Kong: Hong Kong University Press, 2014). On the tension between Hong Kong’s historical outlook as a port city connected to South-East Asia and its recent contraction to “part of China”, see Hok-Man Desmond Sham, “Heritage as Resistance: Preservation and Decolonization in Southeast Asian Cities” (PhD diss., Goldsmiths, University of London, 2015).

  11. 11.

    Iam-chong Ip, “Politics Of Belonging: A Study of the Campaign Against Mainland Visitors in Hong Kong”, Inter-Asia Cultural Studies 16.3 (2015): 411.

  12. 12.

    Kwai-cheung Lo, “Hong Kong Cinema as Ethnic Borderland”, in Esther M.K. Cheung, Gina Marchetti and Esther C.M. Yau, eds, A Companion to Hong Kong Cinema (Malden MA and Oxford: Blackwell, 2015), 72.

  13. 13.

    Bakhtin, The Dialogic Imagination, 248–249. On Bakhtin’s general concept see Fiona Yuk-wa Law, “Making Merry in Time: A Feast of Nostalgia in Watching Chinese New Year Films”.

  14. 14.

    There are many informal moments of “threshold” chronotope analysis in Hong Kong film criticism. Ackbar Abbas discusses traffic and the Mid Levels escalator in the films of Wong Kar-wai; “‘(H)edge City’: A Response to ‘Becoming (Postcolonial) Hong Kong’”, Cultural Studies 15.3/4 (2001): 621–626. Gina Marchetti sees the threshold between stage and wings in Chinese opera as a liminal space alluding to British and Chinese sovereignty in Shu Kei’s Hu Du Men (1996); “The Hong Kong New Wave”, in A Companion to Chinese Cinema, ed. Yingjin Zhang (Malden MA and Oxford: Blackwell, 2012:106). Law Wing-sang devotes a section to “rooftop dialectic” in his reading of the Infernal Affairs trilogy (2002–2003) by Andrew Lau Wai-keung and Alan Mak Siu-fai; “The Violence of Time and Memory Undercover: Hong Kong’s Infernal Affairs”, Inter-Asia Cultural Studies 7.3 (2006): 389–390.

  15. 15.

    Bakhtin, The Dialogic Imagination, 84.

  16. 16.

    Bakhtin, The Dialogic Imagination, 248. Italics original.

  17. 17.

    Law, “The Violence of Time and Memory Undercover: Hong Kong’s Infernal Affairs”, 390–391.

  18. 18.

    See “2015 Index of Economic Freedom”, http://www.heritage.org/index/ranking (The Heritage Foundation and Wall Street Journal) and, for an intimation of the impact of this “freedom” on ordinary people, Bruce Einhorn, “The World’s Freest Economy Is Also Its Least-Affordable Housing Market”, http://www.bloomberg.com/bw/articles/2014-01-21/the-worlds-freest-economy-is-also-the-least-affordable-housing-market, January 21, 2014.

  19. 19.

    Esther M.K. Cheung, “Introduction: Cinema and the City at a Moment of Danger”, in Esther M.K Cheung and Yiu-wai Chu, eds., Between Home and World: A Reader in Hong Kong Cinema (Hong Kong: Oxford University Press, 2004), 248–271. Cheung draws on Walter Benjamin rather than Bakhtin, and the recourse to the latter is mine.

  20. 20.

    Esther M.K. Cheung, “The Urban Maze: Crisis and Topography in Hong Kong Cinema”, in Esther M.K. Cheung, Gina Marchetti and Esther C.M. Yau, eds., A Companion to Hong Kong Cinema (Malden MA and Oxford: Blackwell, 2015), 52–53.

  21. 21.

    Jan Morris, Hong Kong: Epilogue to an Empire (London: Penguin Books, 2000), 12.

  22. 22.

    Ackbar Abbas, Hong Kong: Culture and the Politics of Disappearance (Hong Kong: Hong Kong University Press, 1997), 4; Leo Ou-Fan Lee, City Between Worlds: My Hong Kong (Cambridge MA: Harvard University Press, 2010).

  23. 23.

    Rajadhyaksha, “Hong Kong from the outside: four keywords”, 488–494. For an account of how “culture” in Hong Kong became detached from the politics of nation, shaping space for a vibrant Cantonese public culture from the early 1980s, see Allen Chun, “Sketching the Discursive Outlines of Cosmopolitan Hybridity in Postwar Hong Kong: City Magazine in the Emergence of 1980s Popular Culture and Culture Industry”, in Doing Families in Hong Kong (Social Transformations in Chinese Societies) ed. Chan Kwok-bun, Agnes S. Ku and Chu Yin-wa (Leiden, Boston and Tokyo: Brill, 2009) 191–215.

  24. 24.

    On the problems already faced by Hong Kong cinema at the time of returning to China see Grace Leung and Joseph Chan, “The Hong Kong Cinema and its Overseas Market: A Historical Review, 1950–1995”, in Fifty Years of Electric Shadows (Hong Kong: The Urban Council, 1997), 143–151; and Stephen Teo, Hong Kong Cinema: The Extra Dimensions (London: BFI Publishing, 1997), 243–254.

  25. 25.

    Perry Lam, Once A Hero: The Vanishing Hong Kong Cinema (Causeway Bay: East Slope Publishing, 2011), Kindle edition, loc. 49. For example, the requirement for co-productions to conform to PRC censorship rules has undercut the popular Hong Kong genres of ghost stories, erotica, gangster films and Cantonese nonsense (mo lei tau) comedy, while many senior Hong Kong creative talents have moved their bases to the mainland.

  26. 26.

    Yiu-wai Chu, Lost in Transition: Hong Kong Culture in the Age of China (Albany NY: SUNY Press, 2013), 14.

  27. 27.

    The classic account of this economy prior to 2003 is Lisa Odham Stokes and Michael Hoover, City on Fire: Hong Kong Cinema (London and New York: Verso, 1999).

  28. 28.

    Gilles Deleuze and Félix Guattari, Kafka: Toward a Minor Literature, trans. D. Polan (Minneapolis: University of Minnesota Press, 1986), 17. Any extrapolation to Hong Kong cinema is complex, with Cantonese language and culture being “locally and regionally dominant but nationally minor”; Mirana M. Szeto and Yun-Chung Chen, “Mainlandization or Sinophone translocality? Challenges for Hong Kong SAR New Wave cinema”, Journal of Chinese Cinemas 6. 2 (2012): 127. On the minor conceptualised within Hong Kong cinema see Ka-fai Yau, “Cinema 3: Towards A “Minor Hong Kong Cinema”, Cultural Studies 15.3/4 (2001): 543–563.

  29. 29.

    On the positive potentials of the often derided forces of both parochialism and cliché, see my “On the Future of Parochialism: Globalisation, Young and Dangerous IV, and Cinema Studies in Tuen Mun”, in Genealogies of the Asian Present: Situating Inter-Asia Cultural Studies, ed. Tejaswini Niranjana and Wang Xiaoming with Nitya Vasudevan (Delhi: Orient Blackswan, 2015), 126–149; and “Transnational Glamour, National Allure: Community, Change and Cliché in Baz Luhrmann’s Australia”, in Storytelling: Critical and Creative Approaches, ed. Jan Shaw, Philippa Kelly and L.E. Semler (Basingstoke: Palgrave, 2013), 83–113.

  30. 30.

    Koonchung Chan, Living Out the Contradictions of Our Time, trans. Alan Chan and Richard Hsiao (Hong Kong: The Hong Kong Polytechnic University and Jockey Club Design Institute for Social Innovation, 2014), 46–55. “Weightless leaping” is a fantasy cliché of wuxia cinema whereby a highly trained fighter is able through disciplined “inner” skills to soar into the air and descend at will.

  31. 31.

    Hui, Po-keung and Lau, Kin-chi, “‘Living in Truth’ versus realpolitik: Limitations and Potentials of the Umbrella Movement”, Inter-Asia Cultural Studies 16.3 (2015): 355. For a snapshot of the socio-economic conditions compressing the lives of Hong Kong people see Liyan Chen, “Beyond The Umbrella Movement: Hong Kong’s Struggle With Inequality In 8 Charts”, Forbes, Oct 8, 2014, http://www.forbes.com/sites/liyanchen/2014/10/08/beyond-the-umbrella-revolution-hong-kongs-struggle-with-inequality-in-8-charts/.

  32. 32.

    On class disparities in the USA, for example, see Jill Hamburg Coplan, “12 signs America is on the decline”, Fortune July 20 2015, http://fortune.com/2015/07/20/united-states-decline-statistics-economic/.

  33. 33.

    Several contending pro-democracy “localist” movements in Hong Kong have intensified their influence in the wake of the Umbrella Movement of 2014. On the rise of right wing groups promoting Hong Kong autonomy rather than cross-border alliances, see Ip, “Politics of Belonging”; and Sebastian Veg, “Patriotism and Its Discontents”, The China Story, Australian Centre on China in the World. Yearbook 2013, https://www.thechinastory.org/yearbooks/yearbook-2013/forum-borderlands-and-cutting edges/patriotism-and-its-discontents/. On the differences between these exclusionary groups and the “progressive” local movements for social justice and heritage protection, see Yun-chung Chen and Mirana Szeto, “The forgotten road of progressive localism: New Preservation Movement in Hong Kong”, Inter-Asia Cultural Studies 16.3 (2015): 436–453.

  34. 34.

    Kuan-Hsing Chen, Asia as Method: Toward deimperialization (Raleigh, N.C.: Duke University Press, 2010a), 255. On the local see Kuan-Hsing Chen, “Living with tensions: notes on the Inter‐Asia movement”, Inter-Asia Cultural Studies 11.2 (2010b), 314.

  35. 35.

    Yoshimi Takeuchi, “Asia as Method”, in What Is Modernity? Writings of Takeuchi Yoshimi, ed. and trans. Richard F. Calichman (New York: Columbia University Press), 149–166. Available in Chinese translation as well as in Japanese, Mizoguchi’s China as Method has no authorized English translation at this time. For a discussion of Mizoguchi’s ideas see Chen, Asia as Method, 245–255.

  36. 36.

    On these debates in post-War Japan see Naoki Sakai, Translation and Subjectivity: On “Japan” and Cultural Nationalism (Minneapolis: University of Minnesota Press, 1997).

  37. 37.

    Kuan-Hsing Chen, “Takeuchi Yoshimi’s 1960 “Asia as Method” lecture”, Inter-Asia Cultural Studies 13:2 (2012), 320.

  38. 38.

    Takeuchi, “Asia as Method”, 153–158. See John Dewey, Characters and Events: Popular Essays in Social and Political Philosophy, ed. Joseph Ratner (New York, Octagon Books: 1970).

  39. 39.

    Chen, “Takeuchi Yoshimi’s 1960 ‘Asia as Method’ lecture”, 322. On inter-referencing between localities sharing historically similar issues as distinct from assumptions of lack based on mimicry of Western ideals, see Beng Huat Chua, “Inter-Referencing Southeast Asia: Absence, Resonance and Provocation” in Mikko Huotari, Jürgen Rüland, and Judith Schlehe, eds, Methodology and Research Practice in Southeast Asian Studies (New York: Palgrave Macmillan, 2014), 273–88.

  40. 40.

    Chen, Asia as Method, 246.

  41. 41.

    Takeuchi, “Asia as Method”, 165.

  42. 42.

    Koonchung Chan, Living Out the Contradictions of Our Time, trans. Alan Chan and Richard Hsiao (Hong Kong: The Hong Kong Polytechnic University and Jockey Club Design Institute for Social Innovation, 2014), 27. Chan transforms Foucault’s concept of heterotopia by reading it with Lu Xun, for whom the “windowless iron house” represented “the “dystopian traditional Chinese society” (Chan, 27). See The Real Story of Ah-Q and Other Tales of China: The Complete Fiction of Lu Xun, trans. Julia Lovell (London and New York: Penguin, 2009), 19.

  43. 43.

    Michel Foucault, “Of Other Spaces”, Diacritics 16 (Spring 1986), 22–27.

  44. 44.

    Rajadhyaksha, “Hong Kong from the outside: four keywords”, 494.

  45. 45.

    These incidents are covered on-line in numerous media stories. For example: Josie Taylor, “Baby formula shortage: Government intervenes as Chinese demand strips Australian shelves of stock”, 23 November 2015, http://www.abc.net.au/news/2015-11-11/federal-government-to-intervene-in-baby-formula-shortage/6932332; John Garnaut, “Are Chau Chak Wing’s circles of influence in Australia-China ties built on hot air?”, October 16 2015, http://www.smh.com.au/national/are-chau-chak-wings-circles-of-influence-in-australiachina-ties-built-on-hot-air-20151015-gkalg8.html; John Garnaut, “Chinese spies at Sydney University”, April 21, 2014, http://www.smh.com.au/national/chinese-spies-at-sydney-university-20140420-36ywk.html; “University has change of heart on Dalai Lama visit”, April 23 2013, http://www.abc.net.au/news/2013-04-23/university-of-sydney-to-host-dalai-lama/4647110.

  46. 46.

    Yu, Lost in Transition, 87.

  47. 47.

    Held between 17 October and 11 November, Harbour Fest was a financial disaster with poor ticket sales, cost overruns and major Cantonese headline acts being dropped. The report of an independent inquiry held in 2004 is on line at http://www.gov.hk/en/residents/government/policy/government_reports/reports/docs/harbourfest.pdf.

  48. 48.

    In 2000 Chow won a Hong Kong Film Critics Society Award for Best Screenplay (shared with Wilson Yip and Ben Cheung) with Bullets over Summer, and was co-nominated for Hong Kong Film Awards for the screenplays of Too Many Ways to be Number One (1998) and the “Going Home” segment of 3 Extremes II (2003).

  49. 49.

    The image of prostitution is filtered by Wong Kar-wai’s film The Grandmaster, with Donnie Yen Ji-dan impersonating Tony Leung Ka-fai’s Ip Man in that film rather than the character he played himself in Ip Man and Ip Man 2 directed by Wilson Yip Wai-Shun.

  50. 50.

    Kozo. “Golden Chickensss”. http://www.lovehkfilm.com/reviews_2/golden_chickensss.htm.

  51. 51.

    “The Silver Spleen’s Best Movies of 2014”, https://www.youtube.com/watch?v=kr0IcM8bP_E. The website version is Sean Tierney, “The Silver Spleen’s 2014: The Year in Review (s)”, http://sean.thewhatsgoodconspiracy.com/?p=9299.

  52. 52.

    Clarence Tsui, “Golden Chicken sss (Kam Kai sss)”, Hollywood Reporter, January 20 2014, http://www.hollywoodreporter.com/review/golden-chicken-sss-kam-kai-672447.

  53. 53.

    Tourism Commission, Government of the HKSAR, “Tourism Performance in 2013”, 10 April, 2014, http://www.tourism.gov.hk/english/statistics/statistics_perform.html. On the cumulative impact of these and other pressures on people’s capacities to project a future, see Stephen Ching-kiu Chan, “Delay No More: Struggles to Re-Imagine Hong Kong (for the next 30 years)”, Inter-Asia Cultural Studies 16.3 (2015), 327–347.

  54. 54.

    Arnold van Gennep, The Rites of Passage, trans. Monika B. Vizedom and Gabrielle L. Caffee (London and New York: Routledge, 1960), 2–11.

  55. 55.

    Van Gennep, Rites of Passage, 12.

  56. 56.

    Van Gennep, Rites of Passage, 15.

  57. 57.

    Victor Turner, “Betwixt and Between: The Liminal Period in Rites de Passage”, in Forest of Symbols: Aspects of Ndembu Ritual (Ithaca NY: Cornell University Press, 1967), 93–111. Van Gennep’s work was translated from French to English in 1960.

  58. 58.

    Turner, “Betwixt and Between”, 93.

  59. 59.

    Turner, “Betwixt and Between”, 96–97.

  60. 60.

    Indicative examples are Hazel Andrews and Les Roberts, eds, Liminal Landscapes: Travel, Experience and Spaces In-between (New York and London: Routledge, 2012); Mark McClain Taylor, “Tracking Spirit: Theology as Cultural Critique in America”, in Changing Conversations: Religious Reflection and Cultural Analysis ed. Dwight N. Hopkins and Sheila Greeve Devaney (New York and London: Routledge, 1996), 123–144; Peter Burke, “On the Margins of the Public and the Private: Louis XIV at Versailles”, International Political Anthropology 2.1 (2009): 29–35; Hein Viljoen and C.N. Van der Merwe, Beyond the Threshold: Explorations of Liminality in Literature (New York and Berne: Peter Lang, 2007); Dew Harrison, ed., Digital Media and Technologies for Virtual Artistic Spaces (Hershey, PA: Information Science Reference, 2013); Arpad Szakolczai “Liminality and Experience: Structuring Transitory Situations and Transformative Events”, International Political Anthropology 2.1 (2009): 141–72.

  61. 61.

    Victor Turner, “Liminal to Liminoid, in Play, Flow and Ritual: An Essay in Comparative Symbology”. Rice Institute Pamphlet—Rice University Studies, 60.3 (1974): 62.

  62. 62.

    Alan Smart and Wing-Shing Tang. “On the Threshold of Urban Hong Kong: Liminal Territoriality in New Kowloon”, in Negotiating Territoriality: Spatial Dialogues Between State and Tradition, ed. by Allan Charles Dawson, Laura Zanotti and Ismael Vaccaro (London and New York: Routledge), 2014, 230.

  63. 63.

    Arpad Szakolczai “Liminality and Experience”, 165.

  64. 64.

    Arpad Szakolczai, Reflexive Historical Sociology (London: Routledge, 2000), 201–217.

  65. 65.

    Stephen Ching-kiu Chan, “Figures Of Hope and The Filmic Imaginary Of Jianghu in Contemporary Hong Kong Cinema”, Cultural Studies 15:3–4 (2001), 490.

  66. 66.

    Bjorn Thomassen, “The Uses and Meanings of Liminality”, International Political Anthropology 2.1 (2009): 21–22. On the dangers of liminality, which in modernity far exceed the pollution feared but controlled in ritual conditions by seclusion and purification, see Agnes Horvath, Modernism and Charisma (Houndmills: Palgrave Macmillan, 2013), 1–2; Bjorn Thomassen, Liminality and the Modern: Living Through the In-Between (Farnham: Ashgate, 2014), 82–83; and Bjorn Thomassen, “Revisiting Liminality: The Danger of Empty Spaces”, in Liminal Landscapes : Travel, Experience and Spaces In-between, ed. Hazel Andrews and Les Roberts (New York and London: Routledge 2012), 21–35.

  67. 67.

    Thomassen, “The Uses and Meanings of Liminality”, 23; see also Horvath, Modernism and Charisma.

  68. 68.

    Ghassan Hage, Alter-Politics: Critical Anthropology and the Radical Imagination (Melbourne: Melbourne University Press, 2015), ch. 2. Loc. 619–846.

  69. 69.

    On the “abstraction and dis-embeddedness” of thinking about how Hong Kong’s reintegration might be managed, and the failure of the “one country, two systems” compromise to imagine dynamic change in China during the liminal period, see Lui Tai-Lok, ‘A Missing Page in the Grand Plan of “One Country, Two Systems”’, Inter-Asia Cultural Studies 16.3 (2015): 402–403.

  70. 70.

    See Chris Lau, “On the Red Van of Mystery”, South China Morning Post Young Post. November 7 2012, http://yp.scmp.com/article/4467/red-van-mystery Accessed 14 January 2016.

  71. 71.

    Kozo, “The Midnight After”, http://www.lovehkfilm.com/reviews_2/midnight_after.html. Mirana M. Szeto and Yun-chung Chen more harshly see it as a baby-boomer “mid-life crisis” version of Hong Kong’s situation: “Hong Kong Cinema in the Age of Neoliberalization and Mainlandization”, in Esther M.K. Cheung, Gina Marchetti and Esther C.M. Yau, eds., A Companion to Hong Kong Cinema (Malden MA and Oxford: Blackwell, 2015), 89–90.

  72. 72.

    Esther M.K. Cheung, Fruit Chan’s Made in Hong Kong (Hong Kong: Hong Kong University Press, 2009), 79–100.

  73. 73.

    The famous Michelin food guide began issuing stars to a few Hong Kong cha chaan teng around 2011.

  74. 74.

    Hage, Alter-Politics, Loc. 642–655.

  75. 75.

    See for example Vivienne Chow, “Local artist remembers Bowie’s “gift for Hong Kong”, South China Morning Post, January 12, 2016; and Liu Sha, “Saying Goodbye to Bowie”, http://www.theworldofchinese.com/2016/01/saying-goodbye-to-bowie/ January 12 2016.

  76. 76.

    Winnie L.M. Yee, “Hong Kong’s Liminal Spaces: Unveiling Nature and Identity in Tsang Tsui-shan’s Big Blue Lake”, Jump Cut: A Review of Contemporary Media 55 (2013), http://ejumpcut.org/archive/jc55.2013/YeeBigBlueLake/index.html.

  77. 77.

    Shirley Lau, “SAR’s industry is holding steady despite challenges”, Variety May 13, 2015. http://variety.com/2015/film/asia/hong-kong-movie-industry-holding-steady-1201495343/.

  78. 78.

    Ackbar Abbas, “(H)edge City”, 624. The italics are mine.

  79. 79.

    See Meaghan Morris with Elaine Lally and Catherine Driscoll, “Getting a Life: Expatriate Uses of New Media in Hong Kong”, in Larissa Hjorth and Olivia Khoo, eds, Routledge Handbook of New Media in Asia (Abingdon and New York: Routledge, 2016), 430–444.

  80. 80.

    Rajadhyaksha, “Hong Kong from the Outside”, 491.

  81. 81.

    https://www.youtube.com/watch?v=iEQ2rj-7DDE.

  82. 82.

    “Up on the Lion Rock: Universal Suffrage for Hong Kong!”, https://www.youtube.com/watch?v=1gnLAeuRy_k. See Laurel Chor, “Group claims responsibility for Lion Rock banner and releases epic behind-the-scenes video”, http://hongkong.coconuts.co/2014/10/24/group-claims-responsibility-lion-rock-banner-and-releases-epic-behind-scenes-video, October 24 2014.

  83. 83.

    Joyu Wang, “The Story Behind the Hong Kong Protests” Official Anthem”, Wall Street Journal, October 1 2014, http://blogs.wsj.com/chinarealtime/2014/10/01/the-story-behind-the-hong-kong-protests-unofficial-anthem/. See also Chong Zi Liang, “5 things about Canto-rock band Beyond’s Boundless Oceans Vast Skies, unofficial anthem of Hong Kong protesters”, Straits Times, October 2 2014. http://www.straitstimes.com/asia/east-asia/5-things-about-canto-rock-band-beyonds-boundless-oceans-vast-skies-unofficial-anthem.

  84. 84.

    https://www.youtube.com/watch?v=wwkOpLX7hw4.

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    Meaghan Morris

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Morris, M. (2017). Hong Kong Liminal: Situation as Method. In: Chu, YW. (eds) Hong Kong Culture and Society in the New Millennium. The Humanities in Asia, vol 4. Springer, Singapore. https://doi.org/10.1007/978-981-10-3668-2_1

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