City branding is a strategic instrument to publicize a city’s competitive advantages by highlighting distinctive characteristics of the city. This study uses cinema as a discursive lens to examine city branding and explicates a framework for implementing city branding through cinema. An analysis of 81 Hong Kong films produced between 2008 and 2015 reveal the modalities by which city officials and media producers affect a city brand that distinguishes Hong Kong from other East Asian cities. Specifically, Hong Kong filmmakers 1) use local color as backdrops for stories, 2) emphasize freedom of expression, 3) highlight regional localities, and 4) claim historical figures associated with the city. The findings reflect strategic attempts by Hong Kong city officials and media producers to negotiate the city’s postcolonial identity, even two decades after Hong Kong’s reunification with China. The results suggest that Hong Kong uses cinemamediated city branding as a form of subversive resistance to China. More broadly, the implementation framework could be deployed by other emergent cities (e.g. Dubai), which are looking to increase their profile and cultural footprint in the global stage through creative markets.

The development of the law of self-determination has been stagnant in terms of scope and content in its application in the postcolonial context. It requires a new paradigm to persuade the United Nations, its specialized agencies and affiliated organizations to address current phenomenon regarding normative, institutional and community awareness. This research has revealed that the essential meaning of self-determination is a remedial means for an oppressed person both in colonial and postcolonial context. While the colonial context has ended, postcolonial self-determination remains focussed on both repairing the historical wrongs of the colonial context, responding to the breakdown of a state, and recovering from persistent violations against anyone in the State. Accordingly, this paper will contribute to the development of guidelines for these applications: which primarily refer to some degree of internal self-determination (autonomy); and when this proves unsuccessful, external self-determination (independent) can be proposed as the last resort.

최근 중국 대륙 문학에 비해 상대적으로 비주류 문학이자 소수자 문학으로 인식되어왔던 홍콩이나 대만문학, 또는 전 세계에 흩어져 있는 화인(華人)들의 화문문학(華文文學)에 대한 연구가 점차적으로 증가하고 있는 추세이다. 이에 필자는 홍콩작가 예쓰(也斯)의 작품을 통해 과거 식민지 홍콩에 대한 기억과 흔적들이 어떻게 표현되고 있는지 살펴보았다. 특히 1970년 대 홍콩 정부가 시행한 사회개혁안 중 도시개혁으로 인해 사라져버린 특정 장소나 건물에 대 한 개인의 기억과 생각들이 작품 속에서 어떻게 나타나고 있는지 살펴보았다. 이를 통해 필 자는 식민지 홍콩이 중국 대륙의 정치, 사회, 문화와는 상당히 다른 자신만의 독자성과 로컬 적 특징을 어떤 식민지 역사적 과정을 통해 형성시켜왔는지 개인의 기억을 통해 살펴봄으로 써, 동시에 홍콩 문학 역시 그만의 독자성을 가지고 있음을 살펴보고자 하였다. 홍콩은 서로 다른 문화가 섞여서 만들어진 곳이다. 하지만 서로 다른 문화가 단순히 혼재되어 있는 것이 아니라 둘 이상의 서로 다른 문화가 섞여서 제3의 새로운 성질을 지닌 어떤 곳으로 재탄생한 것으로 볼 수 있었다. 그리고 그것이 예쓰가 그의 작품을 통해서 말하고자 하는 홍콩이다.

모더니즘의 대표적 작가인 제임스 조이스를 탈식민주의적 관점에서 읽으려는 노력은 조이스 연구에 새로운 활력을 제공하고 있다. 이 논문은 이러한 조이스 연구에서의 탈식민주의적 전환의 이론적 성과와 한계를 동시에 검토하고, 이를 통해 조이스와 예이츠의 문학적 교차와 긴장의 결을 새롭게 읽어낼 수 있는 가능성을 타진한다.

In the period of nationalism, W. B. Yeats's works address the loss of nation and resolute fights for independence and remembrance of the fighters killed in the struggles. Freudian ideas of mourning and melancholy and moral masochism and Jacques Rancière's ideas of colonial 'policy' or 'police order' and postcolonial 'politics' can provide effective tools to understand characteristics of the post-colonial works by Yeats. By putting side by side Freud and Rancière, we can produce a combination of mourning-colonial police-order vs. melancholy-post-colonial politics. The colonial police-order induces the colonized Ego to forget the loss of nation and move on to other objects, for example, money, through mourning. Melancholic post-colonial fighters derail the workings of mourning espoused by the colonial policy or police order. Melancholy and moral masochism of the colonized Ego are the driving forces of post-colonial struggles. Melancholy of the colonized Ego and sadism of the Super-Egoic demand of independence and moral masochism of the colonized Ego can explicate the bloody and 'erotic' relationships between the colonized Ego and the womanized ideal of nation, which have been interpreted as 'fatal mistress,' 'eroticized politics' and 'vampirism' by many Yeats critics. But melancholy and moral masochism drove the colonized Ego to fall into a fatal love relation with the female symbol of nation demanding unconditional sacrifice of the colonized Ego, which renders 'eroticized politics' and 'vampirism' noticeable.

In recent years, many of literary works in English has been produced from the so-called Third World. The notion of "contemporary poetry, however, remains strikingly provincial in the anglophone Western World. Also, even though the conceptions of American poetry have expanded to include minority writers of the Third World, the story of the glottalization of English poetry remains largely untold. Why is postcolonial poetry so much less visible in modern literary world? The term postcolonial has often been criticized for erasing cultural and historical differences, so it can be useful in highlighting similarities and differences among various cultures still grappling with their colonial histories. Yeats has been placed in many literary and hermetic societies. For the constituencies of Yeats studies, the claiming Yeats as postcolonial can help renew attention to a poet who, often charged with antifeminism and reactionary politics, has been losing ground to postmodernism, antiformalism, and ethnic writing. Yeats's postcolonization can strengthen the claim of Irish studies to be a player in the vibrant field of postcolonial studies. If we define the Easter Rising is the crucial moment, "Easter, 1916" would qualify as postcolonial. If postcoloniality is construed not as after decolonialization but as since colonization, then Yeats is more easily swept whole into the postcolonial canon, but so would be all kinds of Irish literature since the early 20th century, perhaps stretching the term postcolonial beyond use. So, we can have difficulties in defining Yeats as a postcolonial poet.