This dissertation examines the music subculture in Hong Kong using the two music venues for band performance, Warehouse and Hidden Agenda, as a starting point. It analyzes the relation between space and subculture through looking at the three levels of space for the music subculture: the physical space, the social space, and the cultural space. The physical spaces of Warehouse and Hidden Agenda are examples of appropriated space. By examining the appropriated spaces, it also reflects upon the problems faced by the two venues. The social space uncovers the alternative set of social relations under the music subculture, which transcends the boundary between the producer and the consumer. The affective power of rock music also helps to produce a differential space during band shows. The cultural space is made up by the alternative or even oppositional lifestyles, aesthetics and values of the music subculture. In recent years, the cultural space of the music subculture is becoming less exclusive and forms a third space between the mainstream and the independent, which widens the cultural space of the mainstream popular music in Hong Kong. Through the different levels of space for the music subculture, this dissertation explores the possibilities to seek alternatives and make a difference under the domination of the capitalist culture. / published_or_final_version / Literary and Cultural Studies / Master / Master of Arts
| Identifer | oai:union.ndltd.org:HKU/oai:hub.hku.hk:10722/177297 |
| Date | January 2012 |
| Creators | Kwok, Ching-yi., 郭清夷. |
| Publisher | The University of Hong Kong (Pokfulam, Hong Kong) |
| Source Sets | Hong Kong University Theses |
| Language | English |
| Detected Language | English |
| Type | PG_Thesis |
| Source | http://hub.hku.hk/bib/B48421637 |
| Rights | The author retains all proprietary rights, (such as patent rights) and the right to use in future works., Creative Commons: Attribution 3.0 Hong Kong License |
| Relation | HKU Theses Online (HKUTO) |
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