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By Eric Kit-wai Ma

Ma appears on the ways that the id of Hong Kong electorate has replaced within the Nineteen Nineties specially because the handover to China in 1997. this can be the 1st research which makes a speciality of the position, during this method, of well known media ordinarily and tv particularly. the writer particularly analyses on the courting among tv ideologies and cultural identities and explores the function of tv within the means of id formation and upkeep.

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Additional resources for Culture, Politics and Television in Hong Kong (Culture and Communication in Asia)

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Simply saying that television has a powerful or a limited effect on identity formation is of little value unless it is related to concrete historical contexts. , 1987). In this and the next chapter, I shall illustrate, by examining the Hong Kong case, that identity formation is a complicated social process that involves the interplay between media and non-media processes. The media can have powerful3 or limited4 effects depending upon different historical circumstances. Media researchers and media policy-makers who fixate on the power of the media will easily lose sight of the larger contextual forces at work.

Due to the exposure to Hong Kong-made films and television programmes, other Asian groups can easily recognise the cultural traits of Hong Kong people even without first-hand encounters. It is quite unusual for the localised cultural products of a place with a small domestic market and without a strong national identity to achieve popularity in nearly all Asian countries, with the noted exception of Japan. It is apparent that the economic argument of the thesis of media imperialism, at least on a quantitative level, does not hold for the Chinese television of post-war Hong Kong.

There was no coherent historical narrative for the younger generation to make sense of their socio-historical world. Popular media then easily took up this cultural space. Without any stateimposed shackles, popular media, film, and television culture in particular, had evolved to become a cradle of indigenous cultural identity. The simple term ‘Hongkonger’ gathered weight and meaning in films, television serials, and Cantonese pop songs. However, this indigenous culture took an obvious turn during the mid-1980s.

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