香港經(jīng)濟(jì)史(英文)2

LECTURE(2):Culture&Identity

TheMakingofHKCulture&Identitysincethe1960sQuestionWhatroledid(i)popularculture,&(ii)thegovernmentplayintheformationofHKculture&identity?Whatisculture?Theroleofpopularculture(&thestate)inculturalformationinHKHistoryofpopularculture(uptothe1970s)---localizationPopularcultureinthe1980s&90sToday’sFocusesI.WhatisCulture?Fouraspectsofculturewithinacommunity(吳俊雄2002):

LifeStyleFolkKnowledge/WisdomIdeologicalElementsSystematic(Ideological)Discourse

FourAspectsofCulture(1)Lifestyle

shownindailylifebutdifficulttomeasuree.g.「搏殺、機靈…走精面」FourAspectsofCulture(2)

Folkknowledge/wisdomsomesystematizationbutlargelypragmatic,superficial,spontaneous&goingalongwiththemass; e.g.「在家靠父母、出外靠朋友」、「鬼叫你窮呀頂硬上」、「大難臨頭各自飛」FourAspectsofCulture

(3)IdeologicalElementssetsofmoreexplicitly,coherently&systematicallyarticulatedideas,knowledge&beliefs(e.g.economicknowledge,medicalknowledge,conceptionofgender)

e.g.「趁低吸納」、「均衡飲食」、「好人有好報」、「男主外、女主內(nèi)」)

FourAspectsofCulture

(4)SystematicIdeologicalDiscourse

systemofknowledge&beliefsthataremoremacro&morecoherentthanideologicalelements.E.g.:Confucianism,liberalism,democracy,capitalism,&socialismII.TheRoleofPopularCulture

吳俊雄

(2002)onPopularCultureAbsenceofSystematicIdeologicalDiscoursebytheColonialGovernmentnoprojectofnationalunification&rejuvenationthroughlanguage,education,art,publicsymbols&ritualsmainconcernwithlaw&order

…吳俊雄Absenceofideologicaldiscoursebythegovernmentleavinganideologicalvacuumforpopularculturetofillup:

「因此，香港人覺得自己屬於香港，對它產(chǎn)生一種投入甚至自豪的感覺….其實是一個適逢其會，和相對地點滴自發(fā)的過程。這與大部分地方國族意識建構(gòu)成形的背景並不相同….無人願意搖旗振臂號召民心，普及文化就充當(dāng)先鋒，粉墨登場。

」（吳:p.92）

III.HistoryofPopularCulture2MajorDevelopments(1950s-70s)FolkCulture

(民間文化)MassCulture(大眾文化)

(industrialization&commercialization)LocalizationofPopularCulture(本土化)1.FolkCultureMassCulture

early20thC:traditionalChinese

folkculture

(鬭蟋蟀,打麻雀);somemassculture

1950s&60s:fast developmentof

mass culture

(massmediaindustry)

influxofChineseimmigrantscapital, talents(culturalcapital),&marketpotentialsradio,movies,newspapers,&comicsetc.1967:TVB(無線電視臺)–afreewireless TV broadcasting

popularizationofmass culture

2.MassCulture:earlydevelopment

(i)Theearlymassmediaindustryfedprimarilyon:TraditionalChineseculture(e.g.moviesfromShanghai)Importedculturalproductsfromoverseas(e.g.US,Britain,Japan)

(ii)LowStatusofCantoneseculture(40s-60s)

Cantonesesongs(e.g.“賭仔自嘆”)representinglowertastethanMandarinsongsEnglishsongs(e.g.“Beatles”feverin1964)symbolizingmodernityCo-existenceofdifferentdialectsinradioprograms(e.g.福建、潮州、客家、上海、廣東、國語)PredominanceofMandarinmoviesfromShanghai(legacyofChinesemovietraditionof30s&40s)Cantonesebeingconsideredasaninformalorlesserlanguage,orasbadChinesewritingGrowth&declineofCantonesemovies(50s-70s)DominationofMandarinMovies

-rise&declineofCantonesemoviesMandarinmoviesbytheShawBrothers(邵氏兄弟):big-budgetproductsshotincolor&widescreen

(e.g.director:李翰翔)Cantonesemovies:small-budget&declininginqualitymid-60s:riseofanewyouthmoviegenredeclinedbytheendofthe60sagain(theMandarinmoviesdominatedagain)3.MassCulture:

Style&IdeologicalElements(50s-70s)

(i)吳俊雄(2002):本土意識

Ideologicalelementsinlocalpopculture

insecurityconsciousness(survival)atraditionalsenseofself-helpamongclosekin&neighbor(e.g.人人為我,我為人人)asenseofdistrustintheauthority(e.g.riotsinthemid60s)

(ii)Turner(1995):AHKIdentityComingofAgeinthe60s

CharacteristicsofHKculture:hybrid(混雜)

–amixtureofdifferentthings:Chinese &Western;tradition&modernity; internationalvs.localoutlook.…TurnerAconsciousideologicalroleofthestateinnurturingHKidentity(butalimitedratherthanfullyindependentidentity)“EastmeetsWest”Amoderncitywithaninternationaloutlook(e.g.theannualChineseManufacturers’ExhibitionofHKProducts)policyofcommunity-buildinginlate60s&70s(e.g.HKFestival,FightCrime,CleanHK)…TurnerCo-existingwithpopularculturefromthemarket(bottom-up) e.g.Comicbooks: “小流氓”“老夫子”

…Turner

“Inthishybridbetweenover-determined,paternalisticrhetoricandtheindeterminacyofpopularexperience,thepopulationofHKcametoidentifythemselvesas‘HeungGongYan’(p.22)4.MassCulture:Localization

(i)StatusofCantoneseculturein70s:predominanceofCantoneseastheHKlanguageinpopularcultureLocalpopularTVdramaseries(e.g.啼笑姻緣、狂潮、網(wǎng)中人、上海灘、倚天屠龍記)Localpopularsongs–(i)songsthatgowiththeTVdramaseries,&(ii)songsbylocalsongwriters(e.g.許冠傑)半斤八兩

(曲/唱/詞:許冠傑)

我地呢班打工仔通街走糴直頭係壞腸胃搵個些少到月底點夠洗（奀過鬼）確係認(rèn)真濕滯最弊波士郁Ｄ發(fā)威（癲過雞）一味係處係唔係亂黎吠嗡親加薪塊面拿起惡睇（扭下計）你就認(rèn)真開胃（半斤八兩）做到隻積咁既樣（半斤八兩）濕水炮仗點會響（半斤八兩）夠薑喳鎗走去搶＊出左半斤力想話羅番足八兩家陣惡搵食邊有半斤八兩咁理想（吹漲）我地呢班打工仔一生一世為錢幣做奴隸個種辛苦折墮講出嚇鬼（死俾你睇）咪話冇乜所謂（半斤八兩）就算有福都冇你享（半斤八兩）慘過滾水淥豬腸（半斤八兩）雞碎咁多都要啄獅子山下

(唱：羅文;曲:顧家輝;詞：黃霑)

人生中有歡喜難免亦常有淚我地大家在獅子山下相遇上總算是歡笑多於唏噓人生不免崎嶇難以絕無掛慮既是同舟在獅子山下且共濟(jì)拋棄區(qū)分求共對*放開彼此心中矛盾理想一起去追同舟人誓相隨無畏更無懼*#同處海角天邊攜手踏平崎嶇我地大家用艱辛努力寫下那不朽香江名句#Localization

(ii)HK-CentredPerspective

earlythemeswereChina-focused(nationalhonor,foreignaggression,traditionalfamilyrelationse.g.家春秋)ashiftto“here&now”aspectsoflifeinHKsincethe50s.HKIdentity:SymbolicconstructionofMainlander(vs.HK)intheimageof“AhChan”(阿燦)inlate70sLocalization(iii)HKStyle

HKculture:hybrid(混雜)–withbothChinese&Westernelements,&yetrepresentingneither.

Example:CantoneseMoviesBreakthroughinthelate70s&the80s:

Comedy

e.g.【鬼馬雙星】(許氏兄弟);NewKung-fugenre

e.g.李小龍系列、劉家良的【洪熙官】、袁和平的【醉拳】Newgeneration:王晶、吳宇森、麥當(dāng)雄、成龍Newwave:許鞍華、方育平、徐克…吳俊雄Afterthe1970sofrapideconomicdevelopment…insecurityconsciousnesseconomicoptimism(thediscourseonprosperity&stability)LocalIdentityinPopSongsinthe80sContext:“1997”issue–identitycrisisContext:marketimperative(musicindustry)

TheRiseofStephenChowinthe90s

周星馳---無里頭文化IV.PopularCultureinthe80s&90s

LocalIdentityinPopSongsinthe80s“香港人在中英談判之際亦體會到不能自主的迷惘，因而在文化上努力填補身份的匱乏…【獅子山下】(1979)可說標(biāo)示著從同舟共濟(jì)到本土意識的自覺建構(gòu)的重要過渡…八十年代初政治情況的轉(zhuǎn)變令香港人不能在停留於民間意識/生活風(fēng)格，被迫面對自己的身份，“香港”在不同的就位之下有不同形態(tài)，本土意識的論述儼然已進(jìn)入了意識形態(tài)的階段?！?朱耀偉2002)(a)Cityfolksongs:

【香港香港】:香港，我心中的故鄉(xiāng)，這裡 讓我生長，有我喜歡的親友共陽光…(b)Songsonemigration

SamHui:【悶到透】、【我是太空人】

(c)Bandmusiconidentityanxiety

(relationshipwithChina):

Beyond:【大地】;達(dá)明一派:【你還愛我嗎】*

2. TheRiseofStephenChowinthe90s

Character:ordinaryperson(小人物)Cultureofsenselessness(無里頭文化) 「『里頭』可解作分寸或準(zhǔn)則，『無里頭』因而可解作無分寸或無準(zhǔn)則、行事為人不依慣常方式，反映出一種吊兒郎當(dāng)?shù)男愿??！?黃成榮)Pos