A Study of Post-1997 Hong Kong Cantonese Pop Lyrics_New Edition I&II_Taiwan Exclusive

***This product is only shipped to Taiwan (For Hong Kong/Macau shipping, please visit the "Bright Culture" Pinkoi store) Authors: CHU Yiu-Wai, LEUNG Wai-Sze Publisher: Bright Culture Size: 150mm x 210mm Pages: 296 + 280 pages ISBN: 978-988-8820-08-5 Publication Date: July 2022 [Synopsis] This book is a new edition of the sequel to "A Study of Hong Kong Pop Lyricism: Mid-1970s to Mid-1990s," titled "A Study of Post-1997 Hong Kong Cantonese Pop Lyrics." It includes a new "Postscript to the Reprint" by Professor CHU Yiu-Wai, which briefly discusses the inheritance of Cantonese pop music from 2015 to the present. He notes, "In the past two years, the Hong Kong music scene has shown renewed vitality and echoes, with the rise of Mirror and a new generation of artists, suggesting a turning point. Whether Cantonese pop music can once again reach its peak in Asia remains to be seen." However, Professor CHU also points out, "In terms of lyrics alone, while many new talents have emerged in the past decade, whether it can be described as a 'regime change' like the music scene is debatable." Nevertheless, the author "has always believed that looking back at the glorious era of Cantonese pop music is not mere nostalgia. We should not measure today's lyrics by yesterday's standards, but rather continue to anticipate future possibilities. Instead of clinging to the past and hoping to replicate old glories with existing models (which would truly be nostalgia?), why not look forward and embrace new orders with boundless imagination." This book adopts the research framework established in "A Study of Hong Kong Pop Lyricism: Mid-1970s to Mid-1990s" to further trace the evolutionary trajectory of "Hong Kong Cantonese Pop Lyrics" around 1997. It posits 1997 as a watershed moment for the transformation of Hong Kong pop lyrics—reviewing the subsequent developments and stylistic changes in the lyric writing of "veteran lyricists" (those who debuted before 1997). Concurrently, it examines the emergence and stylistic trends of "post-1997 lyricists" (those who debuted in or after 1997), aiming to provide a comprehensive analysis of the landscape and dynamics of the Hong Kong pop lyric scene from 1997 to the present. In the preface to the 2015 edition, Professor CHU wrote: "This generation of Hong Kong pop lyricists tells us that as long as we keep our resolve, like them, lighting one lamp after another, after ten years and then another ten years, the horizon will shift for us. This spirit of lighting one lamp and the belief that unwavering dedication will yield results speak of inheritance. We have come to understand." [Author Introduction] CHU Yiu-Wai Professor at the School of Chinese, The University of Hong Kong, and Director of the Hong Kong Studies Programme. His research areas include Hong Kong culture, globalization, and postcolonial discourse. He has authored over thirty books, with recent works including Lost in Transition: Hong Kong Culture in the Age of China, Hong Kong Studies as Method (editor), Hong Kong Culture and Society in the New Millennium: Hong Kong as Method (editor), Hong Kong Cantopop: A Concise History, Found in Transition: Hong Kong Studies in the Age of China, Keywords of Hong Kong: Imagining a New Future (editor), The (Post)Youthful Years of Hong Kong Pop Culture, and Main Melody Films: Hong Kong Directors in Mainland China. LEUNG Wai-Sze Cultural critic and theatre critic. She has taught at the Academy of Performing Arts, School of Theatre & Dance, and the Department of Humanities and Creative Writing at Hong Kong Baptist University. She has published over 500 critical articles covering Hong Kong popular culture, Hong Kong theatre, visual arts, and new media projects. In 2015, she received the "Hong Kong Arts Development Council – Asian Cultural Council Fellowship" to study alternative performance art spaces in New York. In 2019, she was funded by the Hong Kong Arts Development Council's second "Overseas Study Tour for Arts Administrators" to visit the Berlin Theatre Festival, Festival d'Avignon, and Edinburgh Festival Fringe to observe the concepts and operations of international arts festivals. Her publications include The Fiery Red and The Art of Theatre: A Preliminary Study of the HKUSU Drama Festival (2011), A Study of Post-1997 Hong Kong Cantonese Pop Lyrics (co-authored with CHU Yiu-Wai, 2011), Discourse Arena: Post-1997 Hong Kong Pop Lyricism (2016), and The Humanistic Landscape of LIN Xi (2021).