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This paper examines the impact of celebrity endorsement on Malaysian consumers' behavioural intentions. Source attractiveness, source credibility and the fit between the endorser and the endorsed product are discussed and examined. An empirical study is carried out which uses stimulus materials that involve a sport shoe brand and a fitness centre. The dataset is analysed using a series of multivariate analyses and a model subsequently constructed using structural equation modelling. The findings indicated that source attractiveness and credibility are essential for celebrity endorsement effectiveness. However, the fit between the endorser and the product is not found to be significant. Nonetheless, this fit has an indirect effect on consumers' behavioural intentions, via the shared variances with source attractiveness and credibility.

This paper aims to challenge the longstanding cosmopolitan interpretation of Hong Kong, particularly why this global city fails to absorb China equally through its great inclusiveness and flexibility as before. On the contrary, rising tensions, conflicts and resistance could be founded between Hong Kong and China these days.

By using Hong Kong cinema as an analytical lens, this paper seeks to throw light on the cinematic landscape of post-1997 Hong Kong and, by implications, the overall destiny of postcolonial Hong Kong under Chinese rule.

The postcolonial Hong Kong, although lacking a symmetric status and equal weight, remains an active player with Chinese hegemony that appeals to the newfound market power to consolidate their systemic control on the city. By acting upon itself with the subjectivity and reflexivity from itself, postcolonial Hong Kong takes many actions to do justice that criticizes the political and ideological correctness and challenges the contemporary national authority from one-party rule.

This paper demonstrates a new in-betweenness in the relation to the making of postcolonial Hong Kong. This paper advances insights into a postcolonial reinvention of the politics of disappearance that remains underexplored.

This research outlines the Hong Kong film industry with examination of key actors, directors, films, and production companies within the martial arts genre of Hong Kong Action Cinema. Hong Kong Film Award winners and nominees, core films within genres, and core reference works both general and theoretical from experts in the field of Hong Kong martial arts film research have been highlighted. Web sites are suggested that provide reviews of Hong Kong martial arts films, biographical information on a variety of actors and actresses as well as comprehensive bibliographic information on select films. Also included are commercial Web sites that provide Hong Kong martial arts films.

During the centennial anniversary of Xinhai Revolution in 2011, the Chinese People’s Political Consultative Conference and the State Administration of Radio, Film, and Television supported the production of 1911 for celebrating such an important event that lead to the rise of the Republic of China in the contemporary Chinese history. This paper aims to reflect upon this film in relation to China’s propagation of “Greater China” for the Empire-building project.

By scrutinizing the film text and following the strait controversies over the film, this paper demonstrates how the Chinese Communist agents employed the coproduction model with Hong Kong for globalizing a cinematic discourse of Greater China in part of their Empire-building project.

The study challenges how contemporary Chinese history is ideologically and politically manipulated for advancing the Chinese Communist propaganda over Taiwan. The overall objective is to reflect upon the longstanding historical divergences that stand on the current geopolitical envision and strategy of China for reunification.

This paper provides an interdisciplinary reflection upon the intricate post-Cold War politics in part of the contemporary Chinese cinema under the China–Hong Kong coproduction model. The findings advance novel and timely insights into China’s current envision and strategy for reunification.

This chapter traces one student teacher's (Joan) experiences of learning to teach English as a second language in a cross-cultural context during a teaching practicum in Hong Kong. The school-based practicum is a core component of many initial teacher education programmes. During this induction period, usually an 8-week block, student teachers are placed in local schools to learn how to integrate theories into practice in real teaching situations. Specifically, I uncover how Joan grappled with the tensions and complexities of teaching young learners from a different cultural and linguistic background, in a small elementary school situated in the borderland between Hong Kong (an autonomous region of China) and Shenzhen (a province of Mainland China).

Critical incidents from Joan's practicum experiences were analysed to uncover how she dealt with the tensions and dilemmas in confronting difference and marginalising practices while learning to teach English as a second language (ESL) in the practicum school. Implications on how to develop initial teacher education programmes so that student teachers learning to teach across cultural contexts can be encouraged to explore, confront and ‘deal with the emotional terrain of understanding difference’ will be discussed (Boler & Zembylas, 2003, p. 123; Zembylas, 2010).

The major findings of this exploratory research are that a firm’s level of market commitment through future investments will increase in strategically important markets, regardless of high consumer complicity to purchase fake goods; that companies will employ additional anti‐counterfeiting tactics in markets with a high level of pirates and a high degree of enforcement of its intellectual property rights; and that companies employ a standardized approach of anti‐counterfeiting tactics targeted at consumers.

Does celebrity endorsement work and how does it work among adolescents? This article aims to identity attributes of celebrity endorsers and attributes of celebrity endorsement advertisements that are most appealing to the adolescents. The article also seeks to examine adolescents' perceptions about how celebrity‐endorsement advertisements work.

A focus group study among 76 Chinese adolescents aged 13 to 19 was conducted. Interviewees were asked to identify the specific elements of advertisements using celebrity endorsement that were most appealing to them. They were asked to suggest how advertisements using celebrity endorsements work.

Results found that interviewees were best able to recall celebrity endorsers whom they considered attractive, funny and expressive. They identified popularity, a good image, and congruence between the celebrity's image and that of the brand as important factors for marketers to consider in selecting celebrity endorsers. A majority of the interviewees perceived that using a celebrity in an ad would increase brand awareness, attract the celebrity's fans, encourage trial, and enhance purchase confidence.

A theoretical model on how advertisements using celebrity endorsements work from the point‐of‐view of adolescents was constructed.

Previous studies on celebrity endorsement have been mainly quantitative in nature. The present study adopts a qualitative methodology and fills a gap in the literature.

Since the launch of the Mainland and Hong Kong Closer Economic Partnership Arrangement (CEPA) in 2003, Hong Kong cinema is believed to have confronted drastic changes. Hong Kong cinema is described to be dying, lacking creative space and losing local distinctiveness. A decade later, the rise of Hong Kong – China coproduction cinema under CEPA has been normalized and changed the once pessimism in the industry. The purpose of this paper is to demonstrate how Hong Kong cinema adjusted its production and creation in the first 10 years of CEPA.

Beginning with a review of the overall development, three paradigmatic cases are examined for reflecting upon what the major industrial and commercial concerns on the Hong Kong – China coproduction model are, and how such a coproduction model is not developed as smooth as what the Hong Kong filmmakers expected.

Collectively, this paper singles out the difficulties in operation and the limit of transnationality that occur in the Chinese context for the development of Hong Kong cinema under the Hong Kong – China coproduction model.

This is the author’s research in his five-year study of Hong Kong cinema and it contributes a lot to the field of cinema studies with relevant industrial and policy concern.

Wesley Snipes has had an extensive career on the big screen starting out as part of the New Black Cinema movement in the 1990s working with Spike Lee and Mario Van Peebles. His roles have been incredibly varied covering drama, comedy, action, thriller, horror and Science Fiction: he has played everything from jazz saxophonist to paraplegic and drag queen to vampire, as well as recently appearing as character actor D'Urville Martin in Eddie Murphy's critically acclaimed Dolemite Is My Name. However, despite his versatility as an actor and his popularity in action films such as Demolition Man and the Blade Trilogy, Snipes has been, surprisingly, the subject of minimal analysis unlike, for example Schwarzenegger and Stallone. Unfortunately, he has also fallen foul of the direct to video curse from around 2005 as well as being sentenced to three years in prison for tax evasion. However, this should not negate Snipes' contribution to cinema, especially in the genre of action. Snipes can be a commanding presence given the right script and direction – as an expert martial artist he is lithe and agile; he has strong facial features and a powerful voice, plus the ability to deliver the wisecracking humour which often goes hand-in-hand with action performances. The aim of this chapter, then, is to focus on Snipes as an action star and, more specifically, his significance as a black action star, examining several key films which have helped to develop his onscreen persona and performance style.

Since the 1990s, Charlize Theron has appeared in films from a wide range of genres but has seen significant financial success from starring in action films, such as Mad Max: Fury Road (2015) and Atomic Blonde (2017). However, unlike some female action leads, she has not solely been defined or pigeonholed by these roles but has been able to transition between action roles and more ‘respectable’ dramatic roles, as well as the other conventions of female celebrity, such as being the face of advertising campaigns for perfume brands.

Theron has notably received several physical injuries during filming, such as breaking her teeth practising fight choreography during the production of Atomic Blonde. These injuries have frequently been added as part of the publicity campaign for the films and Theron's star image overall as signs of ‘authenticity’, leading these action films a sense of increased legitimacy. Tasker states that a female action star's ‘[public] formulation is indicative of the uncertainties generated by her image’ (1993, p. 14). Media attention is divided between focusing on Theron's physicality, both in the sense of the traditional Hollywood gaze and in terms of Theron's molding of her marketable image. Theron has managed to succeed as both a mainstream star and an action heroine. This has enabled Theron to transition between genres and franchises such as The Fate of The Furious (2017), and an Oscar-nominated dramatic role in the biopic Bombshell (2019).

This chapter will unpack the public persona of Charlize Theron as an action film star, exploring both the filmic texts and the presentation of Theron's often complicated and contradictory image in the media.