The research is intended to provide a comprehensive review of the ‘Hong Kong Literature Archives’ compiled by Lo Wai Luen (Xiao Si) (1939- ), who is acknowledged as 'the most qualified writer on Hong Kong literary history'. There are two main objectives in the study:
1. Providing a historical survey of ‘Lo Wai Luen's Hong Kong Literature Archives’; and
2. Analyzing the most recent relations between Hong Kong and China in the context of Hong Kong literary history since the 1920s.
Combining the two perspectives, we shall be able to learn more about the changing understanding of relations between Hong Kong and China in terms of literary history over the last ten decades, including Hong Kong initiatives in advocating an independent cultural identity. The research will focus on literary history and archives, a field where discourse and concrete documents meet, and will have a wide impact on our understanding of the complex relations between Hong Kong and China as well as Hong Kong literature and its sociopolitical contexts. The actual history of Hong Kong, from British colonialism to Chinese imperialism, will also provide a valuable perspective from which to study how literature is manifested in different political situations. Above all, this research demonstrate the advantages of literary history that is based on archival studies and long term interviews with the most accomplished scholar and archivist of Hong Kong literature. It will also assist scholars to understand the actual meanings, impacts, and specificities of literary history, a long overdue task as well as burgeoning academic area of studies in recent years.
After World War II, the strategic town for the Chinese-language film industry migrated south from Shanghai to Hong Kong; and the Cold War situation changed the film distribution and production model. Since the 1950s, Singapore and Malaysia had replaced Mainland China as the biggest export market for Hong Kong-produced films. To understand the postwar Chinese-language film industry’s funding cycle, production model, and film genre evolution, one cannot ignore the cultural production networks of Hong Kong, Singapore, and Malaysia and the important influence of geopolitics behind the business. This study continues the research in the academic book I will soon publish, Hong Kong Cinema and Singapore: A Cultural Ring between Two Cities. (1950-64), (forthcoming). This study will focus on the early days of the Motion Picture & General Investment Co., Ltd. (MP&GI)—its golden age; from 1955 to 1964, MP&GI produced 152 Mandarin and Cantonese films. The Chairman of MP&GI, Loke Wan Tho, son of the richest man in Singapore and Malaysia, studied history and economics in Europe and had a Western style. In the mid-1950s, Loke imitated the Hollywood studio model by integrating three links—theater, distribution, and production, produced high-quality Chinese-language films in Hong Kong, and distributed to Singapore, Malaysia, North America, and other places. MP&GI, known as the “literati studio,” hired quite a few cultural figures, and MP&GI films were famous for approximating the Hollywood style. Besides Loke’s personal background and European flair, factors of the times and geopolitical changes also dictated MP&GI’s style. In this study, I will continue to explore the effect of the Cold War political environment on the production strategy for MP&GI films, the film genres produced, and the studio’s leading middle-brow filmmaking style. Besides concentrating research on the relationship in film culture between Singapore and Hong Kong, MP&GI’s network would also extend to Taiwan. From a political environment perspective, Hong Kong, Singapore, and Malaysia were once British colonies; in terms of official system, the United Kingdom took charge by including Hong Kong and Singapore within the scope of Southeast Asia, and both places had similar political and economic systems. On funding source, MP&GI can be seen as the paragon for early cross-regional Chinese-language cinema. Due to the Cold War situation, MP&GI was incorporated into the “right” and maintained a close relationship with Taiwan. The emphases of this research plan are MP&GI’s regional network and studio style of focusing on wen-yi films and comedies.
本計劃擬從歷時角度比較原始閩語 (‘PM’) 和上古漢語 (‘OC’) 的音韻系統。所謂「原始閩語」，是指用比較法推訂出來、所有現代閩語方言的共同祖先。閩語的存古性質相當明顯，保留了大量超越中古漢語的成份。學界一般相信它在兩漢時期就已經脫離主流漢語。我們一方面會引用新語料，另一方面會採用比以往更嚴謹的方法，在不假定 PM 和 OC 具體關係的前提下，探索以下幾個 PM 的特徵在 OC 裡的反映，並尋求解釋：(a) 清響音聲母；(b)「弱化聲母」；(c) 「開韻核」及「閉韻核」的分野；(d) 韻尾 *-al。我們也會以修訂過的原始閩語音系作為基準，對上古音擬構的「四元音方案」和「六元音方案」作出檢測。