By Janet Ng
Materially grounded research of up to date movie, literature, and song in Hong Kong that resists the superficial stereotypes of the “global city.”
Hong Kong is frequently forged within the function of the paradigmatic “global city,” epitomizing postmodernism and globalization, and representing a imaginative and prescient of a worldly international and capitalist destiny. In Paradigm City, Janet Ng takes us earlier the obsession with 1997—the yr of Hong Kong’s go back to China—to concentrate on the complicated makes use of and meanings of city house in Hong Kong within the interval following that move. She demonstrates how the layout and ordering of the city’s area and the practices it helps inculcates a specific civic aesthetic between Hong Kong’s inhabitants that corresponds to capitalist in addition to nationalist ideologies. Ng’s insightful connections among modern movie, literature, track and different media and the particular areas of the city—such as parks, purchasing department shops, and family spaces—provide a wealthy and nuanced photograph of Hong Kong today.
“…Paradigm urban is friendly interpreting and conveys really comprehensively the advanced socio-political dynamics of a urban that has but to discover a transparent identification in the middle of a probably unending transition.” — China Journal
“…covers a lot in a relatively attention-grabbing way.” — CHOICE
Read Online or Download Paradigm City: Space, Culture, and Capitalism in Hong Kong (Global Modernity) PDF
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Extra resources for Paradigm City: Space, Culture, and Capitalism in Hong Kong (Global Modernity)
He also burdened the common people with heavy levies of physical labor to build massive state projects, such as the completion of the Great Wall, along with his grandiose mausoleum and underground army of tens of thousands of terracotta soldiers. Regardless of the actual merit or demerit of his reign, the historical construction of the Qin emperor is unequivocally as a fearsome and hated despot. Zhang’s Hero is a ﬁctionalized account of a plot to assassinate the emperor to prevent the Qin state’s gradual swallowing up of all the other principalities to achieve a single empire uniﬁed under his dictatorship.
2003 then ended with the death of another popular singer and actress, Anita Mui, in December. ” Roman’s songs resounded almost nightly on television and were a ubiquitous part of the everyday life of Hong Kong during the decade of its economic takeoff. In the 1970s and 1980s, Roman’s ornate costumes and extravagant performance style coincided with the ebullience of the time and the ﬂamboyance of, increasingly, a nouveau riche society. He embodied the aspirations and optimism of a whole generation, whose formative years spanned the decade.
He studied in the UK, spoke ﬂuent English, and affected a mannered, languid grace. He was Hong Kong’s ﬁrst and only openly homosexual actor, a fact that seemed to accentuate the melancholy and decadence in his androgynous beauty. His public persona embodied his prosperous generation’s ﬁn de siècle ennui, their reality constantly dominated by a tragic sense of ending marked by Hong Kong’s Handover to Chinese sovereignty. Of course, British Hong Kong ended in 1997, but people’s clinging attachment to the colonial aura in Hong Kong only became irrevocably and rudely severed when Leslie leaped to his death on April’s Fools Day, 2003, from the twenty-ﬁrst 36 Paradigm City ﬂoor of the Hong Kong Mandarin Hotel, itself, an extravagant symbol of high colonial culture in Hong Kong.