This book discusses the notion of "Hong Kong as Method" as it relates to the rise of China in the context of Asianization. It explores new Hong Kong imaginaries with regard to the complex relationship between the local, the national and the global. The major theoretical thrust of the book is to address the reconfiguration of Hong Kong's culture and society in an age of global modernity from the standpoints of different disciplines, exploring the possibilities of approaching Hong Kong as a method. Through critical inquiries into different fields related to Hong Kong's culture and society, including gender, resistance and minorities, various perspectives on the country's culture and society can be re-assessed. New directions and guidelines related to Hong Kong are also presented, offering a unique resource for researchers and students in the fields of cultural studies, media studies, postcolonial studies, globalization and Asian studies.

This book deals with the 1980s – the “golden decade” of Hong Kong pop culture – in which a cosmopolitan lifestyle of pop and chic emerged in the city. Bookended by two major historical incidents, the 1980s will probably enter the annals of Hong Kong history as the decade that defined its future after reversion to Mainland China. Having witnessed and experienced the rise of Hong Kong pop culture to unprecedented heights in this decade, the author enhances its context through a story about his own personal belongings. Examining popular genres including television, film, music, fashion, disco and city magazine, this book teases out the distinctive aspects of Hong Kong pop culture that defined (his) Hong Kong. As Hong Kong has been undergoing drastic changes in recent years, it is necessary to point toward new imaginaries by re-examining its development. Toward this end, this book will shed light on an important research area of Hong Kong Studies as an academic discipline.

Main melody films are propaganda works that pay tribute to the Chinese nation, the party and the army. Since the turn of the century, they have gradually developed into the main genre of Chinese cinema, and its blockbusterization is arguably the most phenomenal aspect of the 2010s Chinese film industry. As an increasing number of Hong Kong directors are commissioned to direct main melody blockbusters, Chu examines their contributions to this genre, shedding light on the development of cross-border cooperation between the mainland and Hong Kong film industries.