Hui Pui Lam Joe. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 121-128). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Buried in the footnotes-Introduction / Chapter 1.1 --- The importance of museums --- p.1 / Chapter 1.2 --- What are museums? --- p.6 / Chapter 1.2.1 --- Museums in Hong Kong --- p.6 / Chapter 1.2.2 --- Definitions of Museums --- p.7 / Chapter 1.3 --- Research Questions --- p.10 / Chapter 1.4 --- Research Texts: --- p.10 / Chapter 1.4.1 --- Background information of the ´بHong Kong Museum of History' --- p.10 / Chapter 1.4.2 --- Background information of the ´بThe Hong Kong Story´ة --- p.11 / Chapter 1.4.3 --- Background information of the ´بTai O Cultural --- p.12 / Chapter 1.5 --- Methods of study --- p.13 / Chapter 1.6 --- Chapter outline --- p.15 / Chapter Chapter 2 --- The theoretical and critical framework / Chapter 2.1 --- ´بModernist museums´ة as gendered institutions --- p.18 / Chapter 2.1.1 --- The dominant form of museum in the MH --- p.21 / Chapter 2.2 --- Literature on gender representation in art galleries and history museums --- p.22 / Chapter 2.2.1 --- In the context of art galleries --- p.22 / Chapter 2.2.2 --- The pragmatic approach --- p.23 / Chapter 2.2.3 --- The quantitative approach --- p.24 / Chapter 2.3 --- "Gaby Porter and other museologists, works" --- p.25 / Chapter 2.3.1 --- Gender dualism --- p.27 / Chapter 2.3.2 --- Object-centered approach --- p.31 / Chapter 2.3.2.1 --- The concept of ´بemotion material´ة --- p.35 / Chapter 2.3.2.2 --- Methods to regenerate the representation of women in history museum --- p.37 / Chapter 2.3.3 --- Classification system --- p.39 / Chapter 2.4 --- New museology movement --- p.40 / Chapter 2.4.1 --- Post-museum --- p.40 / Chapter 2.4.1.1 --- The characteristics of post-museum --- p.42 / Chapter 2.4.1.2 --- How does post-museum relate to gender? --- p.44 / Chapter 2.4.2 --- Ecomuseum --- p.45 / Chapter Chapter 3 --- Case study of the Hong Kong Story- Gender dualism and object-centered approach in exhibition / Chapter 3.1 --- General description of the Hong Kong Story (HKS) --- p.47 / Chapter 3.2 --- Displays in lower and upper floors --- p.48 / Chapter 3.2.1 --- Lower floor: Folk Culture in Hong Kong --- p.49 / Chapter 3.2.2 --- Upper floor: Birth and Early Growth of the City and Modern Metropolis and the Return to China --- p.51 / Chapter 3.3 --- Gender dualism in Exhibition --- p.53 / Chapter 3.3.1 --- Male-defined experiences of work and daily life --- p.59 / Chapter 3.3.2 --- Marginalization of work in domestic area --- p.63 / Chapter 3.4 --- Object-centered approach taken by curators --- p.65 / Chapter 3.4.1 --- Lower floor- The representation of wedding ceremony --- p.68 / Chapter 3.4.1.1 --- Reasons behind the under-representation of women experiences in traditional wedding ceremonies --- p.69 / Chapter 3.4.2 --- Upper floor- The under-representation of women experiences --- p.72 / Chapter 3.5 --- Methods to exhibit the non-material formed history and emotion material --- p.75 / Chapter Chapter 4 --- Out of the box: Case Study of the Tai O Cultural Workshop / Chapter 4.1 --- Orientation of the Workshop and the role of Ms. Wong in the Workshop --- p.81 / Chapter 4.1.1 --- The Position of Ms. Wong in the Workshop --- p.82 / Chapter 4.2 --- Description of displays --- p.83 / Chapter 4.2.1 --- The interpretation of objects --- p.86 / Chapter 4.2.2 --- The importance of Ms. Wong as a guide --- p.88 / Chapter 4.3 --- A critical analysis of exhibition --- p.89 / Chapter 4.3.1 --- The role of guide in the Workshop --- p.90 / Chapter 4.3.2 --- The naming issue --- p.92 / Chapter 4.3.3 --- The ways of object interpretation --- p.95 / Chapter 4.3.4 --- Objects as emotion material --- p.96 / Chapter 4.3.5 --- The position of Ms. Wong as a curator --- p.101 / Chapter 4.3.6 --- The orientation of the Workshop- Tai O as a unique and lively community --- p.104 / Chapter 4.4 --- Reasons for the success of the Workshop --- p.108 / Chapter Chapter 5 --- Conclusion / Chapter 5.1 --- Comparison between the MH and the Workshop --- p.110 / Chapter 5.2 --- Limitation of the Workshop --- p.114 / Chapter 5.3 --- The positive role of laymen to change curatorial practices --- p.115 / Chapter 5.4 --- In what ways can HKS learn from the Workshop? --- p.117 / Bibliography --- p.121 / Appendix / Appendix: Pictures of the Hong Kong Story (Chapter 3) and the Tai O Cultural Workshop (Chapter4) --- p.130

19th century dime museums were a North American phenomenon that flourished in urban centres from the mid- to late-1800s. Named thusly due to their low admission cost, dime museums provided democratic entertainment that was promoted to all classes as affordable and respectable. The resulting facilities were crammed with art, artifacts, rarities, living human curiosities, theatre performances, menageries, and technological marvels. The exhibition Dr. Soanes’ Odditorium of Wonders strives to recapture the spirit and aesthetic of the dime museum to invoke wonder in the viewer and to combine art, artifacts, and oddities to provoke questions about the boundary between education and amusement. Both the academic and curatorial texts utilize a mix of methodological approaches appropriate to museology, art history and cultural history: theoretical research into historiographical issues concerning theories of display and spectacle; archival research and discourse analysis of historical documents, and material culture analysis (including the semiotics of display). / iv, 60 leaves : ill. ; 29 cm

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253