An exploration of the Hong Kong film market chronicles its history and worldwide influence, profiling its most important films and figures while providing photographs, filmographies, and a video guide.

Having witnessed Britain's retreat from India in 1947, and Malaya in 1957, Peter Moss traveled on through the lengthening shadows of a waning Empire, seeking the last remnants of a once flourishing panoply of imperial pomp and circumstance. He arrived in Hong Kong to find this fabled territory less a British colony than a triumph of collective enterprise; no mythic Babylon but a vibrant and compelling reality. His Hong Kong career spanned four decades, from the spillover of China's cultural revolution to the return of its prodigal son at midnight on June 30th 1997. In his take on events leading up to that historical watershed he has drawn on Chinese sources to present a wider perspective, and has not flinched from challenging popular perceptions. He saw Chris Patten, Hong Kong's last governor, as a knight in shining armour, riding in at the eleventh hour to slay the dragon. "I felt there was a distinct danger of him accidentally killing the damsel in distress." Many have loved and admired Hong Kong but few have grasped its intricacies. That an enclave so small should have become so powerful, and left such a mark on the world, is a mystery that No Babylon seeks to probe and dispel. "Had he discovered Hong Kong first, Karl Marx might never have written Das Kapital, for this hubble-bubble of experimental capitalist alchemy contradicted so many of his theories".

This resource includes full details of Hong Kong harbour, its shopping and nightlife districts, traditional sites and off-the-beaten track areas of the New Territories and outlying islands. A history and a cultural guide is included, as well as places to eat, drink and sleep on every budget. Background information on post-handover politics and features on festivals, feng shui and Chinese astrology are also included.

In this paper, I aimed to explore deeply the Hong Kong 1997 handover theme films by comparison and summary in order to discover the history and cultural meaning of this incident from a human perspective. 1997 is a turning point for Hong Kong people, society and the film industry. The city confronted a historical turning point under an experimental one country, two systems convention without precedent in history. This led many Hong Kong people to lose confidence about their future. In addition, this historical incident brought a series of social issues to Hong Kong people, such as confusion about their identity and uncertainty about the future. Therefore I chose four films from two directors with different viewpoints reveal Hong Kong society and people s life and spirit. Those films are Peter Chan s Comrades, Almost a Love Story (1996), Golden Chicken (2000), and Fruit Chan s Made in Hong Kong (1997), The Longest Summer (1997). Also, I will give a brief introduction about the aspects of the past of Hong Kong politically (colonial rule), economically and with respect of Hong Kong identity to understand its cinema and the possible effects of the 1997 handover.

Described as the 'lost genre', the tradition of documentary film making in Hong Kong is far less known than its martial arts films. However documentary film has always existed in Hong Kong and often trenchantly represents its troubled relationship to itself, China and the west. Including the period of colonial film-making, the high points of television documentary and the tradition of independent documentary film-making, this book is the first to present a comprehensive study of this lost genre. It explores the role of public-service television (including representations of the massacre at Tiananmen Square) and presents critical analysis of key films. Based on original archival research, it will be an invaluable resource for students and academics who work in the fields if film studies, colonial studies and Hong Kong cinema.

Film censorship has always been a controversial matter, particularly in jurisdictions with restrictive state-based censorship systems. This book reviews the film censorship system in the Asia-Pacific by comparing the systems used in Malaysia, Hong Kong and Australia. It identifies the key issues and concerns that arise from the design and implementation of the system by examining the censorship laws, policies, guidelines and processes. The book evaluates film practitioners' and censors' opinion of, and experience in, dealing with those issues, and goes on to develop reform proposals for the film censorship system.

This book borrows the concept of “high-definition” from digital broadcasting to highlight our unique approach to Hong Kong society, which gives a sharper image than analyses. It intends to highlight contrasts with many common and taken-for-granted stories, myths and representations of Hong Kong— which often presented with a low level of detail, lacking proper connections between grounded personal experiences and the macro social context. With chapters covering various salient dimensions of Hong Kong’s society, including migration, economy, inequality, identity and social movements, our “high-definition” approach presents images with high enough “resolution” to match multiple layers of experiences from walks of life of Hong Kong people, contributing to an understanding of how global transformation impacts local people’s experiences, as well as Hong Kong’s significance in the regional and global system.