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The majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To many critics, the two-part series of Ip Man and Ip Man II provide a paradigmatic case of film co-production that sell the tricks of Chinese kung fu, regurgitating the overblown Chinese nationalism against Japanese and kwai-lo. The purpose of this study is to rectify such observation of the Ip Man series.

The authors read the series deconstructively as a postcolonial text in which Hong Kong identity is inscribed in the negotiated space in between different versions of Chinese nationalism.

The analysis points to the varying subversive features in the series from which Hong Kong’s colonial experiences are tacitly displayed, endorsed and rewritten into the Chinese nationalistic discourse whose dominance is questioned, if not debased.

This paper advances new research insights into the postcolonial reinvention of kung fu film and, by implication, the Hong Kong cinema in general.

This chapter examines changing attitudes towards exhibiting Chinese immigration in New Zealand. Drawing on archival research and qualitative interviews with subject experts and visitors, three museums are discussed: national narratives at the New Zealand Maritime Museum in Auckland and The Museum of New Zealand Te Papa Tongarewa in Wellington; and regional representations at the Toitū Otago Settlers Museum in Dunedin.

The exhibition analysis shows that multicultural narratives of tangata tiriti immigration including Chinese only became prevalent in the 1990s, when changing attitudes in society at large and progressive immigration legislation influenced strategies of display.

These modernised national narratives propagate a multicultural paradigm. However, exhibiting Chinese immigration history constitutes only a small part of the larger mission of national museums. Accordingly, narratives of Chinese immigration remain superficial, serving celebratory representations of ethnic communities, while racism and discrimination are an important, but not central aspect of these narratives.

At the regional level, Toitū re-invented itself into a social history museum with a more inclusive and reconciliatory agenda, with a redesign in 2013 subsuming Chinese immigration into an intercultural narrative, featuring alongside other minority groups with a focus on cultural contact and exchange.

Nevertheless, all three museums still rely on narratives based on minorities and majorities arranged around a stable hegemony. Consultation and cooperation with Māori also reveal the wish to be presented as first people, set apart from tangata tiriti. That way biculturalism seems to act as a dividing force spatially, but thematically both immigration histories are more and more intertwined.

The purpose of this article is to put forward China’s Hanyu Pinyin word guanli as an academic basic term to the world.

GUANLI as an academic basic term, which holds multiple meanings of several English words, such as management, administration, governance, etc. As a basic term, GUANLI, derived several words, such as GUANLIOLOGY, GUANLIST/GUANLIER and GUANLIWORK/GUANLIJOB, to precisely and exactly convey the Chinese GUANLI ideas. It is the historical mission and opportunity for the authors to research and establish the Chinese School of Modern GUANLI Science (CSMGS).

It is inevitably necessary to build the combined Chinese–Western discourse system of GUANLI science (CCWDSGS). Some other research results of CSMGS are also presented in this paper.

It is needless to say that there are still lots of problems in China, including in the GUANLI field. These problems will gradually be solved in China’s reform and development that takes place continuously. New problems will come up while old problems are being solved and settled; problems producing in a loop, problems solving in a loop, this is the dialectics. The authors have full confidence in solving problems, as well as in China’s development and future.

Practice comes first and then it is followed by theory. The authors first have the “China Model”, followed by the “Chinese School” consequently. The “China Model” has already been there, and the “Chinese School” relies on the author’s proactive research and innovation. It is just the right time for the authors to study and create the CSMGS. This is the historical mission and opportunity awaited by contemporary Chinese.

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.

The purpose of this paper is to develop a more thorough understanding of cognitive social capital (shared representations) building in a multicultural marketing context.

An ethnographic study with in-depth interviews and observations are used to explore how Chinese entrepreneurs utilize cultural metaphors to build their cognitive social capital in the USA. Both Chinese entrepreneurs and their American stakeholders (consumers and business associates) are interviewed.

The three themes from the findings are cultural conceptual blending, frame shifting with stereotype dilution and metaphor conversion. These form the sub-processes of an overall process the authors name “cross-cultural shifting.” The use of visual and verbal cultural metaphors by the Chinese entrepreneurs leads to conceptual blending, a process of blending of elements and relations from various scenarios in the mind. A frame shifting and stereotype dilution follows, culminating in the conversion of the cultural metaphors into the deep (universally recognized) metaphors of resource and connection.

Given that metaphors are one manifestations of culture and also effective for communicating universally, they play a role in cognitive social capital building in a multicultural context. This exposition calls for further research the utilization of cultural metaphors in international marketing.

The variability in communication and comprehension of business stakeholders from different cultures influence their cognitive social capital building (cooperative behavior to exchange resources). This makes it imperative for multicultural marketers to understand the use of cultural metaphors to enhance cognitive social capital in a multicultural context.

This exposition on cross-cultural frame shifting will result in improved knowledge of the role of cultural metaphors in enhancing multicultural understanding, shared representations and cognitive social capital in international marketing.

The purpose of this paper is to review the development of the field of knowledge about masculinities, and particularly to show the need for post-colonial perspectives.

Reading major texts in the field and analysing their conclusions, inclusions, and exclusions.

Study of masculinities is necessary to gain an adequate understanding of the whole field of gender relations. This field is now global, but the consequences of a global field of knowledge are not sufficiently recognized because of the continuing hegemony of the global north in theory, methodology, and academic networks. The coloniality of gender is outlined. Significant contributions from the global south are identified and the issues involved in decolonizing the field of masculinity studies are analysed.

Mainly Anglophone texts discussed.

Redesign of curricula for teaching in this area; redeployment of resources in academic publishing and other knowledge production projects.

Knowledge in this area is relevant to HIV prevention, poverty reduction, economic development, prevention of violence, international conflict, and educational attainment.

To stimulate rethinking among scholars in the field of masculinity and gender studies, and through them among those dealing with the practical issues mentioned.

This chapter examines how the breakthrough of Zhang Ziyi's depiction of a female kung fu master in The Grandmaster (2013) transforms the figure of the heroine in Chinese action films. Zhang is well known for her acting in action films conducted by renowned directors, such as Ang Lee, Zhang Yimou and Wong Kar-wai. After winning 12 different Best Actress awards for her portrayal of Gong Ruomei in The Grandmaster, Zhang announced that she would no longer perform in any action films to show her highest respect for the superlative character Gong. Tracing Zhang's transformational portrait of a heroine in The Grandmaster alongside her other action roles, this analysis demonstrates how her performance projects the directors' distinctive gender viewpoints. I argue that Zhang's characterisation of Gong remodels heroine-hood in Chinese action films. Inheriting the typical plot of a daughter's use of martial arts for revenge for her father's death, Gong breaks from conventional Chinese action films that highlight romantic love during a woman's adventure and the decisive final battle scene. Beyond the propensity for sensory stimulation, Gong's characterisation enables Zhang to determine that women can really act in action films – demonstrating their inner power and ability to create multi-layered characters – not merely relying upon physical action. This chapter offers a relational perspective of how women transform the action film genre not merely as gender spectacles but as embodied figures that represent emerging female subjectivity.

With its worldwide fame for making action films, Hong Kong cinema has been defined as masculine. Action films, including the costumed martial arts films and the modern gangster films, have been a major genre in Hong Kong cinema from the 1960s on. Despite the dominant masculinity, women still play significant roles in some of these films. In fact, fighting women leave footprints in the history of Hong Kong cinema, which precede their counterparts in the West and even provide models for Hollywood after 2000.

This chapter focuses on the female characters portrayed by the acclaimed Hong Kong director Wong Kar-wai, whose works have an ambiguous connection to mainstream genres. He modifies Hong Kong action films and creates unconventional female characters such as the drug dealer in Chungking Express (1994), the killer dispatcher in Fallen Angels (1995), the swordswoman in Ashes of Time (1994), and the kung fu master in The Grandmaster (2013). Wong's films have been mush discussed in academia, but the gender images therein are quite ignored. With high intertextuality, these characters are used to question mainstream action films and redefine women's roles in male's cinematic space. In addition, via the writing of these women, Wong constructs an open and ambivalent post-colonial Hong Kong identity. This paper contextualises the figures of sword-wielding and gun-shooting women and examines how Wong Kar-wai deploys these images to articulate the cultural identity of a post-colonial city.

The purpose of this paper is, based on leisure constraints and means-end theories, to identify the e-leisure constraints of using the video-sharing websites/apps; demonstrate how means-end theory can be used to reveal the differences between high- and low-leisure constraints in an e-leisure environment; and provide designers and marketers with valuable insights for developing e-leisure products and e-marketing strategies.

Both qualitative and quantitative approaches are employed to collect data. By eliminating three participants whose age range did not meet our criterion (15 to 24 years old), 57 one-on-one in-depth interviews were then content analyzed to design the survey questionnaire. A total of 514 valid samples were collected for hierarchical value map (HVM) construction.

By comparing the full HVM vs the e-leisure constraints HVM, the analytical results indicate that the importance of attributes, consequences and values for the young people using video-sharing websites/apps is quite different. “Unable to resume the video after leaving the screen,” “creating playlist,” “providing movies” and “location restrictions” are extremely important features that influence the willingness of such users with high e-leisure constraints to participate in e-leisure activities. By understanding the differences between these two HVMs, it is possible to provide marketers or designers with valuable insights for website/app design and marketing strategies.

This study only focused on young people’s perceptions of video-sharing websites/apps, so the findings are limited to those aged between 15 and 24 years old. Since managers today are challenged to design effective strategies that can meet target users’ demands across different ages with different economic, social and sub-cultural groups, future research may consider gathering a wider age range of respondents in order to obtain more robust results.

This is the first paper integrating leisure constraints theory and means-end theory to understand young people’s cognitive structure of using video-sharing websites/apps, especially when they encounter e-leisure constraints.