Anthony Y. H. Fung

Hong Kong was once an established hub of creativity in Asia recognized internationally for its cinema, Bruce Lee and Kung Fu. Cantopop, its particular form of pop music, was popular throughout China and East Asia from the 1970s. So why is Hong Kong’s creative industry today in a state of stagnation? Cultural Policy and East Asian Rivalry unravels the challenges faced by the creative industries in Hong Kong in relation to the wider East Asian context in countries including Singapore, Japan, Korea, Vietnam, Malaysia and China. Based on a four-year study of the gaming industry in Hong Kong, this book explores the barriers that creative industries face in the region. Fung argues that a lack of cultural policy in Hong Kong has damaged the gaming industry and by extension all creative industries in the region by rendering them uncompetitive. Conversely, the growing strength of cultural policy in other countries across the region has created further barriers for the industry.

Hong Kong was once an established hub of creativity in Asia recognized internationally for its cinema, Bruce Lee and Kung Fu. Cantopop, its particular form of pop music, was popular throughout China and East Asia from the 1970s. So why is Hong Kong’s creative industry today in a state of stagnation? Cultural Policy and East Asian Rivalry unravels the challenges faced by the creative industries in Hong Kong in relation to the wider East Asian context in countries including Singapore, Japan, Korea, Vietnam, Malaysia and China. Based on a four-year study of the gaming industry in Hong Kong, this book explores the barriers that creative industries face in the region. Fung argues that a lack of cultural policy in Hong Kong has damaged the gaming industry and by extension all creative industries in the region by rendering them uncompetitive. Conversely, the growing strength of cultural policy in other countries across the region has created further barriers for the industry.

What does it mean to be young in a country that is changing so fast? What does it mean to be young in a place ruled by one Party, during a time of intense globalization and exposure to different cultures? This fascinating and informative book explores the lives of Chinese youth and examines their experiences, the ways in which they are represented in the media, and their interactions with old and, especially, new media. The authors describe and analyze complex entanglements among family, school, workplace and the state, engaging with the multiplicity of Chinese youth cultures. Their case studies include, among others, the romantic fantasies articulated by pop idols in TV dramas in contrast with young students working hard for their entrance exams and dream careers. This book will be essential reading for students and scholars of youth culture, the sociology of youth and China studies more broadly. By showing how Chinese youth negotiate these regimes by carving out their own temporary spaces – from becoming a goldfarmer in a virtual economy to performing as a cosplayer – this book ultimately poses the question: Will the current system be able to accommodate this rapidly increasing diversity?

What does it mean to be young in a country that is changing so fast? What does it mean to be young in a place ruled by one Party, during a time of intense globalization and exposure to different cultures? This fascinating and informative book explores the lives of Chinese youth and examines their experiences, the ways in which they are represented in the media, and their interactions with old and, especially, new media. The authors describe and analyze complex entanglements among family, school, workplace and the state, engaging with the multiplicity of Chinese youth cultures. Their case studies include, among others, the romantic fantasies articulated by pop idols in TV dramas in contrast with young students working hard for their entrance exams and dream careers. This book will be essential reading for students and scholars of youth culture, the sociology of youth and China studies more broadly. By showing how Chinese youth negotiate these regimes by carving out their own temporary spaces – from becoming a goldfarmer in a virtual economy to performing as a cosplayer – this book ultimately poses the question: Will the current system be able to accommodate this rapidly increasing diversity?

This book examines the way transnational media companies have entered the Chinese entertainment market. Based on the author’s ethnographic work and over 100 interviews with senior executives in global media corporations, including Warner Bros. Pictures, Viacom’s MTV Channel, and Nickelodeon and News Corporation’s Channel V, the book analyzes the concrete globalization/localization strategies of these corporations and how they cope with the various political and economic constraints of working in China.

This book examines the way transnational media companies have entered the Chinese entertainment market. Based on the author’s ethnographic work and over 100 interviews with senior executives in global media corporations, including Warner Bros. Pictures, Viacom’s MTV Channel, and Nickelodeon and News Corporation’s Channel V, the book analyzes the concrete globalization/localization strategies of these corporations and how they cope with the various political and economic constraints of working in China.

This book challenges assumptions that have underpinned critiques of globalization. Combining cultural theory with media industry analysis the authors set out a groundbreaking account of how the medium of television is evolving in the post-broadcasting era, and how programming ideas are creatively redeveloped and franchised in East Asia. While many of the television programs, formats, and genres in this study originate from Western origins, it is their reception and adaptation within East Asia that illustrates what the authors term the East Asian cultural imagination.

This book challenges assumptions that have underpinned critiques of globalization. Combining cultural theory with media industry analysis the authors set out a groundbreaking account of how the medium of television is evolving in the post-broadcasting era, and how programming ideas are creatively redeveloped and franchised in East Asia. While many of the television programs, formats, and genres in this study originate from Western origins, it is their reception and adaptation within East Asia that illustrates what the authors term the East Asian cultural imagination.