This multi-year, multi-city investigation seeks to examine how and why civic associations are employing information communication technologies (ICTs) in their work and the extent to which these uses are transforming urban ‘civic space.’ Rather than being passive non-state actors shaped by technologies in the ‘networked city,’ civic environmental associations are treated in this study as co-evolving ‘actor-networks’ that are both shaping and shaped by their ICT practices. This study systematically examines how ICT-linked tools or platforms are reconfiguring civic associations and civic space in the three ‘tiger city’ settings of Hong Kong, Singapore and Taipei. This investigation employs grounded theory, case study methods, and actor-network theory to examine the co-evolution of ICTs and civic environmental associations. The concept of info-sociations (ICT-associations) is employed in constructing a socio-technical model for analysis of the fast-evolving ICT practices of civic associations. Such an approach suggests that diverse forms of ICT-linked praxis—where civic ideals and knowledge are being put into practice—involves multimodal digital practices; alongside blended or multiplexed physical and virtual practices; and multiscalar practices. The info-sociational model compares ICT-linked organizational, participatory and spatial practices at the associational level by examining digitally-linked: internal and external organizational change; reconfigurations in the public sphere and cyberactivism; scalar transformations and associational alliance formations. Analyses of city-specific ‘civic space’ storylines; alongside a discussion of the problems and potentialities of ICT-linked practices also contributes to an integrated info-sociational model. An info-sociational approach therefore serves to examine transformations in knowledge, power and space as civic environmentalists employ ICTs. The info-sociational model supports an analysis of three pairs of age-distinct civic environmental associations in Hong Kong, Singapore and Taipei. These six cases (as units of analysis) were selected for their diverse civic environmental activities; their differences in age; and their variety of ICT-linked practices, including uses for: public deliberations, and mobilizing activism; networked alliance formations; identifying environmental and spatial issues in city regions; and creating alternative green media. Employing the info-sociational model in analyses of the six civic environmental associations led to the observations that: ‘externally-oriented’ ICT-linked practices were of greater importance than ‘internal practices’ amongst civic associations; that groups prioritized ‘digital green public sphere’ practices compared to ‘cyberactivism’; and these associations employed ICTs more frequently for ‘alliance-building’ than for ‘spatial transformations.’ Several of the cases illustrated how ICTs can enhance or augment existing alliances and potentially support new types of civic-cyber formations. By touching on questions of knowledge, power and space an info-sociational approach therefore can contribute to integrated explanations of how and why civic associations are using and (re)shaping ICTs in pursuit of their diverse aims for more livable and just cities. / published_or_final_version / Urban Planning and Design / Doctoral / Doctor of Philosophy

published_or_final_version / Urban Planning / Master / Master of Science in Urban Planning

published_or_final_version / Architecture / Master / Master of Architecture

Cinema, as a complex social and cultural phenomenon, has been recently challenged by digital media cultures and aesthetics since the 1990s. In this study, Hong Kong cinematic productions, blending the West and the East, and flexibly manoeuvring production and post-production with limited resources, are used to demonstrate the advent of new digital cinematic aesthetics and productions in the era of globalization and digitalization. The production culture and aesthetics of local cinema has been, to a great extent, internally modified by the impacts of digital media cultures and technologies, especially digital effects and computer animation of unprecedented imaginary spaces and perspectives for creative productions. The increasing complexity of digital cinematic productions and the rapidly changing cultural production systems bring in newcomers of alternative modes/choices of thoughts and interpretations, thus facilitating production/product differentiation and de-differentiation to cater for the increasing and changing demands of active audiences. The vigorous struggle for cultural representations in digital cinematic aesthetics by producers and consumers of disparate repertoires is the focus of analysis in this research. Empirical evidences suggest a new paradigmatic model to study cultural representations of digital cinematic aesthetics within contemporary creative systems of production and consumption. / The findings generally support the advent of the ten new aesthetics of digital cinema as a global trend as well as a new glocalism in the Hong Kong cases. While most interviewed producers and audiences articulate the new characteristics of digital cinematic aesthetics, many audiences show disjunctive judgments toward those local filmmakers' treatments to cross-fertilize video game with their cinematic productions. This reveals the inevitability of internal modifications of organization cultures and representational practices to create new digital cinematic aesthetics and productions within new dynamics of digital media cultures and technologies in the fast changing media ecology. Hong Kong filmmakers and computer animators show their strength and flexibility to glocalize digital cinematic aesthetics and productions by integrating digital visual effects with local film and production cultures, especially in comedic and martial arts cinematic productions. However, it seems that there are larger discrepancies concerning the tastes and aesthetic judgments toward cultural representations in digital cinematic aesthetics by cross-fertilization with video game between general audiences and professionals. This study reflects that the rigid, director-oriented Hong Kong film production system is too demanding on the film director's independent ability of coordination and greatly influences the development of cultural representations in digital cinema by collective imaginative inputs of increasing complexity and flexibility. Producers and consumers of disparate repertoires of cultural practices contribute to the meaning construction of multiple layers of digital effects and computer animation by systematic coordination and collaboration. In other words, the "spectrum of cultural representations", as a framework, helps us understand the complexity and creativity of the new digital cinematic aesthetics from production to consumption practices. / This study is a multidimensional investigation of the moments of creativity and struggles over organization cultures and representational practices by both cultural producers and audiences. There are case studies of the general trend of digital cinematic productions in Hollywood and the specific development of digital cinema in Hong Kong, as well as in China. From these empirical analyses, ten new characteristics of digital cinematic aesthetics are generalized. They include (l) amplification, (2) free referencing, (3) seamlessness and believability, (4) multiple-layered composition, (5) patterning, (6) imaginary perspectives, (7) collective imaginative inputs, (8) cross-fertilization with comic, (9) cross-fertilization with video game, and (10) cross-cultural, cross-historical, cross-genre production. Such inductive findings are also deployed to study the social functions of both producers and audiences in the meaning construction of digital cinematic aesthetics and productions within the dynamics of digitalization and globalization. Eighteen in-depth interviews of production insiders, five focus groups of disparate generations of movie audiences and amateurs, and eleven case studies of Hong Kong digital cinematic productions have been examined. The empirical validity about the ten new forms of digital cinematic aesthetics and their production and consumption is investigated, and also achieved by intensive and interactive case studies, production studies and audience studies, combining textual and discourse analyses and production and reception analyses. / Lam, Sui Kwong Sunny. / Advisers: Anthony Y. H. Fung; Eric K. W. Ma. / Source: Dissertation Abstracts International, Volume: 73-06, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 536-562). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.