What constitutes a Hong Kong subculture? The following insights have been gathered and synthesized from interviews, surveys, and articles contributed by Hong Kong residents and cultural enthusiasts. While I cannot guarantee that they represent Hong Kong subcultures in their entirety, my rationale for choosing these particular subcultures from a plethora of definitions provided by Hong Kong residents is their frequent depiction in Hong Kong cinema and their ability to encapsulate a specific era in Hong Kong’s history.
Nonsensical / Absurdist Culture 无厘头文化
Nonsensical comedy is primarily represented by the comedies of Stephen Chow in the 1990s. This refers to a cultural phenomenon characterized by humor, absurdity, and surrealism. It often involves the use of illogical or nonsensical elements to create comedic or thought-provoking content. “Being Happy is the most important thing” is the core of Hong Kong-style culture.
Since the turn of the millennium, many comedic romantic films have emerged in Hong Kong cinema. One of the most iconic and hilarious moments is the line “请问sir字点写” (“How do you write the word ‘sir’?”) from the movie “Love Undercover1”. The creative blend of English and Chinese in Hong Kong comedic films, exemplified by this scene, has become a longstanding classic. I’ve seen it over 50 times since I was a kid, and it still makes me laugh every time. What surprised me was that when I casually mentioned this joke to my Hong Kong friends, everyone understood the reference, indicating its iconic status.
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Gangster Culture 黑帮文化（三合会）
This term refers to the subculture associated with criminal organizations or triads in Hong Kong. It includes elements such as codes of conduct, loyalty, and hierarchy, often portrayed in Hong Kong cinema and popular media.
Hong Kong’s “Traid” and the modern-day concept of organized crime are indeed products of the city’s historical legacy. During the 1990s, films revolving around gangsters and police-themed stories became mainstream themes that distinguished Hong Kong cinema within the Chinese-language film industry. A notable representative work during that era is “Infernal Affairs.” (2002-2003)
Protest Culture 游行文化
Hong Kong protest culture reflects the city’s strong tradition of civic engagement and the active involvement of its residents in voicing their opinions and demands on various social and political issues.
According to “Which city has the most protests” (2017, The Guardian), Hong Kong was the city with the highest number of protests globally. In 2016, there were 11,854 public gatherings and 1,304 protest events held in the city.
Street Neon Signage Culture 街头霓虹招牌文化
One significant aspect of Hong Kong’s culture is the neon signage that graces its streets. These vibrant signs showcase aesthetics, calligraphy, graphics, and local history, contributing to the city’s unique cultural identity. For both local residents and tourists visiting Hong Kong, these neon signs often hold sentimental value and evoke emotions.
However, in the past year, the Hong Kong government introduced a street beautification plan, which includes measures to remove or repair at least 1,700 signs. Under the new regulations, most existing signs are deemed illegal structures, and they are rapidly disappearing from the city’s streets. While there is a chance for some signs to survive through a sign inspection scheme, the criteria for evaluation do not encompass the historical, cultural, and aesthetic value of these neon signs. As a result, many iconic signs are at risk of being lost forever, impacting the city’s visual landscape and erasing part of its cultural heritage.
MK Culture (Mong Kok)旺角文化
Hong Kong’s Mong Kok (often referred to as MK) is a vibrant and bustling neighborhood known for its unique urban culture and atmosphere. Mong Kok is situated in the Kowloon Peninsula and is one of the most densely populated areas in the world. The term “MK culture” is used to describe the distinctive lifestyle, trends, and characteristics associated with this area.
“MK culture,” known as Mong Kok culture, is a term native to Hong Kong, commonly used from the early 2000s to the early 2010s to describe its unique community culture. Due to Mong Kok being a hub for selling trendy items and hosting various entertainment venues aimed at young people, such as karaoke, cha chaan tengs (local diners), and cinemas, it gradually became a popular spot for trend-seeking youth to socialize and hang out. The Mong Kok East Centre and the Trendy Zone are considered to be the birthplaces of MK culture.
“Mong Kok people,” referred to as “MK individuals,” are the youth who frequent the Mong Kok area. However, it doesn’t necessarily mean they reside in Mong Kok. Generally, young males are colloquially called “MK guys,” while young females are referred to as “MK girls.”
As Tears Go By (Wong Kar Wai, 1988）
Starting from 2007, a new term emerged: “trendy kids” (潮童), referring to some MK individuals who particularly favor branded items or enjoy wearing distinctive clothing.
Complaining Culture 投诉文化
Complant culture refers to a prevalent cultural practice in Hong Kong where people are inclined to voice their grievances, dissatisfaction, or concerns publicly and often to authorities, companies, or public figures. This culture highlights a strong sense of civic engagement and expectation of accountability.
The Change I want to see?
As someone who has been influenced by Hong Kong films, developed an interest in Hong Kong culture, and worked in Hong Kong institutions for ten years, I believe that the aforementioned “subcultures” are evident in Hong Kong’s film and television industry, stemming from the city’s history. However, with the passage of time, changes in Hong Kong’s societal environment, and the influence of current laws and social media, some of Hong Kong’s distinctive “subcultures” have gradually disappeared or already vanished. From a positive perspective, the emergence of new social norms, such as the decline of organized crime, and a stronger emphasis on lawfulness, signify societal progress and stability. However, the accompanying negative consequences are that the city has lost some of its original distinctiveness, leading to homogenization with other major cities in mainland China and a lack of competitiveness. As a result, this also poses challenges for artistic creation, particularly within Hong Kong’s once renowned film and television industry.
Through my research, I hope to delve deeper into the “subcultures” portrayed in Hong Kong films, using their foundation to create an immersive interactive installation (or game). This project aims to allow people with an interest in Hong Kong culture to genuinely experience its subcultures, thereby contributing to the preservation of positive aspects within these subcultures. In doing so, I plan to consider the following approaches:
- In-Depth Research on Subcultures: Conduct a thorough examination of the subcultural elements depicted in Hong Kong films, including nonsensical comedies and gangster culture, analyzing their historical development and impact.
- Immersive Installation Design: Design an immersive installation or game centered around the subcultures portrayed in Hong Kong films, enabling participants to interact and experience the unique aspects of Hong Kong culture.
- Perpetuating Positive Values: Integrate the subcultural elements within the installation or game with positive values, such as inclusivity, creativity, and social cohesion, allowing participants to deeply experience the captivating aspects of Hong Kong culture.
- Leveraging Social Media and Promotion: Utilize social media platforms and other channels to promote and publicize the immersive installation or game, attracting a broader audience to participate and gain insights into Hong Kong’s subcultures.
Through this research and creation, I aim to spread awareness of Hong Kong’s distinctive subcultures to a wider audience, preserving their positive aspects, and making a valuable contribution to the conservation and development of Hong Kong’s cultural heritage.