Dubbese fu recuperates the dismissal of the ‘poorly dubbed’ English-language voice tracks in the
Hong Kong kung fu films that became globally popular and profitable starting in 1973 as a position
that improperly valorizes only the perfect lip synchronization version of the audiovisual contract.
Instead of one, there is a total of three possibilities with Italy representing a looser version and the
films of Hong Kong’s kung fu wave representing the imperfect version. The internationalization
strategy adopted by Shaw Brothers and Golden Harvest identified the necessity of voice dubbings
into the target market’s language, which in the case of the United States, required English dubbings
since the goal was to become appealing to mainstream rather than art cinema audiences. The
history of English dubbing studios in Hong Kong, the key individuals who made it happen, and
the working conditions of the dubbing process are recreated to uncover how imperfect lip
synchronization became a new aesthetic norm.

opening paragraph:Time-lapse video amplifies the speed of traffic, people, and their movement around the cityscape of Hong Kong. In a video, "The Best Is Yet to Come," dedicated to promoting Hong Kong as "Asia's World City," for example, writers used the magnification of speed to emulate the dynamics of capital's never-ending flow.1 Time-lapse brands Hong Kong and creates a visual metaphor for the elusiveness of "connectivity" that depicts Hong Kong culture as one of rapidity and instant gratification. Recently, speed has been foremost on the mind of Hong Kongers caught in the political quagmire surrounding what has been lambasted as "white elephant" projects devoted to more speedy connections to mainland China. Time-lapse forms the idealized mirror image of the Guangzhou-Shenzhen-Hong Kong Express Rail Link, which, without station stops cuts traveling time to Guangzhou from two hours down to forty-eight minutes. The fantasy of uninhibited speed occludes the controversy of the co-location agreement that ceded Hong Kong territory to the mainland allowing for the practice of Chinese law on Hong Kong soil in direct counter-indication of Hong Kong's mini-constitution. "One train, two systems" directly challenges "One country, two [End Page 619] systems." Plagued by financial woes and construction setbacks, the Hong Kong-Zhuhai-Macau mega bridge connects Hong Kong to the Pearl River Delta and puts each city within an hour's commute of each other. Faster and more efficient connections between locations in southern China cemented a new geographical and economic proposition envisioned by officials as the Greater Bay Area. In the context of Hong Kong, faster connections also compress space by supposedly bringing "two systems" closer in a more harmonious temporal and political network.

This study uses a governmentality approach to examine poverty and welfare media discourse as a complex aggregate of a wide variety of knowledge and political rationalities aimed at governing citizens. A discourse analysis of newspaper articles about poverty from 1994 to 2013 was conducted. Five discursive strategies and four oppositional claims were found in the 20-year sample period. The findings illustrate the relationship between neoliberalism and governmental strategies in poverty discourse.

To understand power dynamics between Chinese and Western cultures, this research examines the content of advertisements from bridal magazines in Hong Kong, China, and the US. Wedding magazines in Chinese societies visualize the hegemonic power of Western cultures using English language text, Caucasian models and Western wedding practices. Meanwhile, culture plays a role in selling ritual goods. Clothing advertisements were more common in the US, suggesting that the beauty of the bride in the US is important with respect to the body, whereas in China beauty in terms of both the body and face is important.