Co-Creating Culture: TV Most and the Rise of Postmodern Participatory Culture in Hong Kong

Introduction

Postmodernism in the cultural context has changed how people create, consume and engage with cultures. In this 21^st century, where technology and its digitalization are malignant, postmodernism has taken on a new direction, especially regarding people participating in a culture. In this paper, we shall focus on the co-creating culture in Hong Kong using TV Most as an example. Tv Most is a popular online video platform that has gained popularity and acceptance among Hong Kong youth. TV presents a perfect example of a recreation culture in postmodern Hong Kong. In such a scenario, TV Most users are consumers and part of the population reproducing the content.

This paper shall discuss TV Most and its implications on Hong Kong culture using readings encountered in a course about postmodernism and other readings. This theory will briefly discuss the concept of postmodernism in culture with a specific emphasis on fragmentation, hyperreality and the blurred contrast between original and reproduced aspects of culture. The paper will also cover the circuit of culture framework, which comprises representation, identity, production, consumption and regulation of content. The framework will be used to analyze how recreation aligns with postmodernism culture. The essay will also focus on how TV Most has enabled the recreation of culture. The implication and discussion section will discuss how the recreation of cultures is shaping the emerging cultural identities of the younger generations in Hong Kong. The section shall discuss the impacts of recreation on mainstream cultures and the need for cultural policies in Hong Kong.

Literature Review

1. Postmodernism

The roots of postmodernism can be traced back to the end of the 1950s and the beginning of the 1960s. We find the glorification of a ‘new sensibility’ in the writings of American cultural critic Susan Sontag (Against Interpretation, 1966). According to her, “one significant implication of the new sensibility” is that “high and low” cultures are becoming increasingly arbitrary categories. Postmodernism is a cultural movement that shatters great narratives, collapses distinctions between high and low art, and floods the world with images and signs to create a hyperreal experience.

Activities, events, and points of view that value the local over the universal or the fragmentary over the whole are highly prized in postmodern culture. This perspective has resulted in fragmentation. This inversion of a modernist philosophy demands respect for cultural diversity and fluidity. Jean Francois Lyotard’s The Postmodern Condition: A Report on Knowledge (1984) is widely regarded as the authoritative description of the term and its significance to contemporary society. In Lyotard’s writings, postmodern culture is associated with an uncompromising examination of the relationship between the specific and the general in art, culture, and politics.

Angela McRobbie writes in Postmodernism and Popular Culture (1994) that “postmodernism is the coming into being of those whose voices were historically drowned out by the (modernist) metanarratives of mastery, which were in turn both patriarchal and imperialist.” According to her, “the new generation of intellectuals (often black, female, or working class)” have been given a voice thanks to postmodernism because it allows them to speak out about their experiences as marginalized groups. According to Kobena Mercer (Welcome to the Jungle, 1994), “the emerging voices, practices, and identities of dispersed African, Caribbean, and Asian peoples” “crept in from the margins of postimperial Britain to dislocate commonplace certainties and consensual “truths” and thus open up new ways of seeing, and understanding.”

According to Jean Baudrillard (Simulations, 1983), hyperrealism is postmodernism’s defining aesthetic mode. The ‘real’ and the fantastical constantly collapse into each other in the hyperreal world. As a result, what we call ‘reality’ and what Baudrillard calls ‘simulations’ blur together like roller coasters. It is not uncommon for simulated experiences to feel more authentic than the real thing.

According to John Fiske’s Media Matters (1994), “Postmodern media continue to provide alternative depictions of realities; they influence and generate the realities that they mediate.” Moreover, in our postmodern world, all events that matter are media events, a new perspective on culture. The proliferation of cultural content made possible by the internet and social media has further fragmented narratives in the modern era, posing new challenges to long-held ideas of authorship, distinctiveness, and genuineness (Hassan, 1985).

2. The Circuit of Culture Model

The circuit of culture, developed by Stuart Hall, can be used as a lens for critically examining cultural commodities. The circuit is divided into five interconnected aspects with varying public visibility: representation, identity, production, consumption, and regulation. The production, consumption, and regulation of the popular cultural artefact all have an invisible but profound influence on its more obvious components—representation and identity (Hall, 2006). Below is a discussion of what each entity entails.

The term “representation” is used to describe the process of creating and conveying meaning through diverse cultural forms such as language, images, symbols, and media texts (Tombleson & Wolf, 2017). Meaning is encoded and decoded in this process, along with the formation of social identities and ideologies.

The term “identity” describes how people and groups see themselves and are seen by others concerning shared cultural beliefs and practices. It includes how elements, including gender, race, ethnicity, class, sexual orientation, and nationality, shape both individual and group identities (Hall, 2006).

The term “production” refers to the process of making and disseminating works of media, art, fashion, and music. Ideation, design, manufacturing, and promotion are all part of it, as are the economic and social circumstances of the cultural industries as a whole.

The term “consumption” describes the reception, Interpretation, and experience of cultural goods by target audiences (Tombleson & Wolf, 2017). It includes an exchange of meanings and principles by people and communities through processes such as receipt, Interpretation, appropriation, and use.

To regulate is to govern and shape through social, political, and economic institutions that produce, consume, and portray culture (Hall, 1997). Issues of power, access, censorship, and control are just a few of the many that can be impacted by the plethora of institutions, regulations, laws, and conventions that shape the cultural production, distribution, and consumption process.

The “circuit of culture” theory highlights the reciprocal influences of representation, identity, production, consumption, and regulation, illustrating the dynamic interdependence of these cultural processes. It offers a framework for comprehending the various actors and stakeholders involved in cultural production, distribution, and consumption and how meanings of culture and practices are built, negotiated, and contested.

3. Recreation aligns with the postmodern cultural phenomenon.

In many crucial respects, the practice of recreation parallels that of postmodern cultural phenomena. As a first point, it questions the significance of the author and the uniqueness of a work. Re-creation involves generating new meanings through the manipulation of pre-existing cultural objects, including songs, movies, paintings, and books (Collins, 1987). As a result, the concept of a single, canonical author or original work is called into question, while the malleability and diversity of meanings that might result from re-creative techniques are emphasized (Ahponen, 1990). As people interact with artistic creations as consumers and as engaged players in their re-creation, it distorts the distinctions between creator and consumer.

Second, re-creation confuses the boundaries between high and low art (Strinati, 1993). Cultural institutions, media giants, and established artists used to have a lot of say on what got made and who got their work out to the public. However, re-creation has made cultural production accessible by enabling everyday people to take part in making new works of art. As a result, many forms of re-creative work have emerged, from fan literature and artwork by fans to memes and viral videos, all of which question established canons and cultural value systems.

The character of postmodern civilization is reflected in the practice of recreation. Digital technologies have made it possible to reproduce and remix cultural objects infinitely, making information and material widely available. Many forms of re-creation have moved online, where users of various digital and social media outlets can readily alter, remix, and disseminate previously existing cultural content. Traditional ideas of possession and authority over cultural creation are challenged by the hyper-mediation of cultural objects (Calhoun, 1993). This initiative has blurred the lines separating the source and imitation, the real and the artificial.

A Case Study of TV Most

In Hong Kong, TV Most is a popular internet platform for making and sharing videos. It is a fascinating case study for thinking about the “circuit of culture” paradigm and how it may be applied to the study of recreation and success. Du Gay et al.’s “circuit of culture” model includes five components that are all interwoven and shape cultural practices: representation, identity, production, consumption, and regulation, which shall govern this case study.

• Production and Consumption

TV Most allow users to collaborate on content creation and viewing. People who use TV Most are not just viewers but also contributors since they upload and share their own videos and comment on those of others. Co-creation like this helps people feel more connected to one another. In order to make new videos, people frequently work together, remix, and repurpose already-made videos (Fung, 2003). TV Most allow regular people to have a say in creating cultural content, which dismantles established order in the arts and gives a voice to many different points of view.

TV Most’s success stems from the fact that it encourages audience participation. This is achieved by television most effectively when viewers participate in the content’s creation. As a result, the platform now boasts a sizable and engaged user base that creates and consumes a diverse array of content. Users have become closer together due to TV Most’s collaborative nature (Brown, 2008). The platform’s users have created a thriving social ecosystem through frequent feedback, sharing, liking, and collaborations.

• Regulation

Copyright and objectionable material regulations are two areas where TV Most have regulatory difficulties. Concerns about intellectual property infringement may arise as more people produce and distribute movies on the site. There is also the potential for worries about improper or objectionable material being there. This demonstrates the mismatch between TV Most’s co-creation ethos and the standards of traditional regulation meant to safeguard intellectual property.

Copyright laws in the television industry are relatively easy to navigate. Audio-visual content is particularly susceptible to user-generated remixing and repurposing. This could lead to concerns about the morality and lawfulness of exploiting copyrighted materials without permission (Collins, 1987). TV Most could have to determine the law and create policies for these issues. TV Most face a delicate balancing act between censorship and allowing users to express themselves freely.

The same may be said for the difficulty of regulating TV Most due to offensive or improper content availability. Due to the platform’s user-generated nature, some videos may be offensive due to obscene language, hate speech, or other content. TV Most will likely need to introduce methods to monitor and censor content. These measures will ensure it complies with community rules and accepted standards without trampling on users’ rights to free expression and individuality.

• Representation and identity

TV Most’s wide range of programming reflects the many dimensions of Hong Kong youth culture and provides outlets for creative expression. Users on TV Most make all sorts of videos, from vlogs to songs to comedies, short movies that express their personalities, passions, and aspirations (Lilley, 1993).. TV Most is a place where people can share their ideas, perform for an audience, and make connections with others who have similar interests.

The content that users create reflects their personal identities, the experiences they have had, and the perspectives they hold. The representation and identification aspects of TV Most are intertwined. TV Most provides a forum for diverse perspectives and portrayals of Hong Kong’s adolescent culture. Many of these perspectives are not likely to be heard or seen elsewhere. The program provides users with a sense of empowerment and mastery over their own life. This encourages users to express themselves and experiment with different identities freely.

In conclusion, the collaborative nature of TV Most’s production and viewing makes recreation possible. It helps people meet new people and develop friendships and showcases and celebrates Hong Kong’s youth culture. However, it is plagued by regulatory difficulties, most notably with regard to copyright violations and hate speech. These difficulties reveal the struggles between co-creation culture and more conventional forms of control. The “circuit of culture” model gives a framework for analyzing TV Most’s success by examining the connection between representation, identity, production, consumption, and regulation on this website.

Implications and Discussions

Postmodern Hong Kong (HK) culture is shifting, especially among young people, as evidenced by the popularity of re-creation culture as illustrated by TV Most. It is a break from conventional ideas of what culture is and what creativity is (Collins, 1987). This is because it reflects a landscape in which people take an active role in co-creating cultural content. Risks, such as intellectual property, or IP, issues, must be addressed notwithstanding the benefits that re-creation culture can bring regarding engagement, diversity, and decentralization.

In re-creation culture, elements of previously established cultural forms are rearranged, rethought, and reimagined (Hall, 1997). Parodies of well-liked television series are what TV Most is all about. Afterwards, the HK youth community spreads recreation far and wide. This trend represents a postmodern shift in Hong Kong culture, in which authorship, ownership, and the distinction between authentic and copied content all become more porous. The collaborative and interactive element of re-creation culture is emphasized. The co-creation of culture, individual expression of creativity, and altering cultural content in light of individual perspectives are all hallmarks of a culture that values recreation.

Potentially shaping the cultural identities of digital native youth is one of the most significant consequences of re-creation culture. They may develop a more nuanced appreciation for culture, art, and creativity when they actively recreate cultural content. It subverts the accepted norms of what constitutes credibility and innovation (Strinati, 1993). Recreational activities foster a more open and participatory method of making art. For young people, this can help them feel more independent and confident. The young people develop their voices, construct their own cultural narratives, and collaborate with their peers to bring new cultural practices into the world.

The culture of recreation may also have an impact on Hong Kong’s general culture. As it gains popularity and acceptance, it may impact the larger cultural landscape by advocating for greater variety, openness, and decentralization in the arts. It interferes with the authority of established cultural gatekeepers (Calhoun, 1993). it also opens the floor to underrepresented groups. This can increase cultural equality and provide a more comprehensive presentation of Hong Kong’s rich cultural history.

Despite its many advantages, re-creation culture also raises regulatory worries. IP concerns may arise when the lines between authentic and copied material blur when content is widely redistributed. The dangers of re-creation culture include copyright violations, plagiarism, and inappropriate use of copyrighted materials (Hall, 2006). The protection of creators’ rights and the proper recognition and compensation of their efforts depend on these concerns being resolved. As a result, the Hong Kong government needs to take a policy-oriented critical stance to ensure the responsible and ethical growth of the re-creation culture.

The government of Hong Kong needs to have a cultural policy that transcends beyond just providing money for the arts. There is now only a cultural funding policy in HK, which helps fund cultural initiatives. This policy only encompasses part of the array of regulations. A cultural strategy for Hong Kong would regulate and promote the growth of the city’s cultural environment in light of the shifting nature of re-creation culture (Fiske, 1994). Copyright, intellectual property, content regulation, and cultural diversity are only a few of the topics that should be addressed in such a strategy.

The government can also provide funding for programs to increase young people’s media and computer literacy. This effort aims to provide them with the resources they need to participate in re-creation culture responsibly. Copyright regulations, unethical content production, and accountable online sharing can all be discussion topics in such sessions (Lilley, 1993). Legal advice and other forms of assistance for creators can also be made available. These will help content creators understand their legal options and identify potential pitfalls when dealing with intellectual property issues in the context of fan fiction.

Governments are also positioned to encourage cultural diversity and openness in the realm of recreation. One way to do this is to back causes that give a platform to people and groups that are often overlooked in the media. It may also involve making available venues for a wide range of artists to exhibit their wares (Brown, 2008). The state as an institution can also encourage cross-cultural partnerships. As a result, young people in Hong Kong may feel more connected to their past and develop a stronger feeling of cultural pride as a result. Promoting a welcoming atmosphere for artists is also crucial to any cultural policy aimed at re-creation culture. This may include offering financial backing, grants, and marketing assistance for works that have been recreated. This may also include facilitating the participation of artists in public displays of their work, such as festivals and exhibitions. IP problems about re-creation culture can also be addressed fairly and efficiently by having the government establish systems for dispute resolution and mediation (Collins, 1987).

Conclusion

In conclusion, TV Most represent the postmodern re-creation culture prevalent in Hong Kong (HK), especially among young people. Remixing, repurposing, and re-contextualizing pre-existing cultural objects to produce new meanings is a hallmark of the digital age. The success of TV Most can be ascribed to the fact that it caters to the needs of young Hong Kongers for creative outlets, social responsibility, and cultural variety. It illustrates a postmodern shift in Hong Kong culture that questions authorship and originality in favour of openness, pluralism, and decentralization. Nevertheless, some challenges, such as intellectual property disputes and regulatory worries, must be overcome. Overall, TV Most represents the growth of re-creation culture as an important cultural trend in Hong Kong. It also highlights the requirement for an effective cultural policy that tackles the regulatory issues related to the shifting landscape of artistic production.

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