As a former British colony (1842-1997) and then a Special Administrative Region (from 1997 onwards) practicing the One Country Two Systems policy with the People's Republic of China, Hong Kong has witnessed at all times how relations are formed, dissolved and refashioned amidst changing powers, identities and narratives, given that the decisions that had moved the city in the past were not made upon the consensus of the local population. In its post-handover, post-hangover years, the 2014 Umbrella Movement and the 2019 Anti-Extradition Bill Protests among other events have revealed the multiple appearances and connotations of Hong Kong's local. At the intersections between real-life events, cultural production and consumption, the book is an interdisciplinary study that extracts and examineslocal relations through the lens of the things and places that stand or that have once stood for Hong Kong's local. With cultural icons as an agency, the book offers lessons to learn from the city by opening up manifold postcolonial perspectives to confront and interrogate the volatile experiences in the new millennia - unprecedented since the Cold War era - shared by Hong Kong and other regions. After all, what does it mean, or take, to live in the contemporary world when the local, global and national are constantly given new meanings?

As a former British colony (1842–1997) and then a Special Administrative Region, Hong Kong has witnessed at all times how relations are formed, dissolved and refashioned amidst changing powers, identities and narratives, given the many names it possessed over the course of history, from ‘Barren Rock’, ‘Fragrant Harbour’, ‘Port of Incense’, ‘Pearl of the Orient’, ‘Asia’s World City’, ‘Vertical City’, ‘Floating City’ to ‘City at the End of Time’ among others. In the post-handover, post-hangover years, the circulation, reverberation and reception of cultural symbols, old and new, such as the King of Kowloon, Song Emperor’s Terrace, and Lion Rock have revealed the multifaceted appearances and connotations of Hong Kong’s ‘local’. At the intersections between real-life events, cultural production and consumption and multiple voices, the book extracts and examines the local relations between the inhabitants of the territory and the human and nonhuman agencies that stand or that have once stood for Hong Kong across time and through space. Via the lens of places, things and cultural icons, the book offers lessons to learn from Hong Kong by opening up manifold postcolonial, translocal and planetary perspectives to confront and interrogate the volatile experiences in the new millennia—unprecedented since the Cold War period of the twentieth century—shared by Hong Kong and other regions. After all, what does it mean, or take, to live in the contemporary world when the local, global and national are constantly given new meanings?

As a former British colony (1842-1997) and then a Special Administrative Region (from 1997 onwards) practising the 'One Country Two Systems' policy with the People's Republic of China, Hong Kong has witnessed at all times how relations are formed, dissolved and refashioned amidst changing powers, identities and narratives, given the many names it possessed over the course of history. Via the lens of places, things and cultural icons, this book offers lessons to learn from Hong Kong by opening up manifold postcolonial, translocal and planetary perspectives to confront and interrogate the volatile experiences in the new millennia-unprecedented since the Cold War period of the twentieth century-shared by Hong Kong and other regions.

This book explores 2010s Hong Kong film industry, focusing on its (presumably) independent sector. Although frequently mentioned in global film industry studies, the term ‘independent film’ does not always carry a clear meaning. Starting with this point, this book studies closely Hong Kong’s new indie cinema of the 2010s from political, economic, social, cultural, and film industrial perspectives, arguing that this indie cinema was vital to the long-term sustainability of the city’s film industry.

Includes reviews, cultural commentary, insights into classic manga and anime titles, interviews and profiles of Japan's top creators, and insider stories from the anime trade.

How do film and television makers around the world depict public housing? Why is public housing so often chosen as the backdrop for drama, horror, social critique, rebellion, violence, artistic creativity, explorations of race relations and political intrigue? Home Screens answers these questions by examining the ways in which socialized housing projects around the world are represented on screen. The volume brings together a diverse group of interdisciplinary scholars, who explore documentary and fictional portrayals of the architecture of public housing, and the communities that inhabit it, ranging from the 1950s to the present. Examining international film and media texts such as Die Architekten (1990), Swagger (2016), Cooley High (1975), Mee-Pok Man (1995), Treme (2010–2013), Mamma Roma (1962), The Pruitt-Igoe Myth (2011), and Below the Lion Rock (1972–1976), essays within this book consider public and private attitudes toward socialised housing, explaining how onscreen representations shape perceptions of these ubiquitous, often-stigmatized urban locations.

We've been suffering hangovers for as long as anyone can remember - anyone who was sober last night, that is, not anyone who's currently sipping Lucozade in a darkened room with a basin by their side. They can't even remember how they got home. So, if we've known about hangovers for so long, how come we've never figured out how to put a stop to them? Well, you might be surprised to hear that we have. A great deal of research has gone into the mystery of the hangover. People are out there every night researching themselves legless in bars, pubs and clubs all over the country. They try different combinations of drinks; wine before beer then whisky, beer before wine then whisky, vodka before beer and then wine before whisky; drinking standing up, drinking sitting down, eating before the drinking, eating during the drinking, eating after the drinking; wine before sitting down, vodka during the whisky and standing up eating in the beer (the researcher's notes get a bit confused here). The point is, we know what causes hangovers - the Devil. He's trying to suck out your soul through your toilet and starts with everything you've had to eat in the last three days. pituitary gland causing vasopressin inhibition, dehydration and a toxic accumulation of acetaldehyde when the liver's production of glutathione is exhausted. The scientists have all the answers and their ultimate solution to the hangover problem is... don't drink. But that's just crazy talk, so maybe they're not so clever after all. There are plenty of hangover 'cures' - from Prairie Oysters and Bloody Marys to burnt toast, fried breakfasts and bananas - but only a few of them do any good at all and some of them can actually to more harm than good... banging yourself on the head with a dustbin lid, for example, or turning up for work. Different things, obviously, will work better or worse for different people; the trick is knowing what works best for you and Rough As A Badger's Arse gives a fair and unbiased assessment of all of the best hangover cures to guide you through the tough choices. the world about the perils of the demon drink, the odd drinking quote or ditty, lots of hard facts to help you think your head straight and plenty of soft paper if your problem is mainly at the other end. As good a pick-me-up as a JCB or a bucketful of Red Bull, Rough As A Badger's Arse will have you ready to face your next session before you can say, 'Mine's a Perrier.' So, if that randy wild gorilla broke into your room last night while you were unconscious - you know, the one that scattered your clothes around, wrecked your CD player, stole all your money, messed up your bed, planted a traffic cone on your head, left your front door open and emptied an ash tray into your mouth - you really need this book!