The current political crisis in Hong Kong is characterized by a level of social unrest that the city has not seen since the riots of 1966–67. After that earlier round of turmoil, the British colonial regime secured legitimacy through socioeconomic improvement in Hong Kong. “Prosperity and Stability” became the hallmark of Hong Kong's success, which extended into the period of political uncertainty in the 1980s. Transcending the handover of Hong Kong to China in 1997, this catchphrase was adopted as the slogan of the Hong Kong Special Administrative Region government in its bid for legitimacy through socioeconomic appeals. Against this perennial state rhetoric, grassroots protesters began to demand “Democracy and Freedom” around June Fourth. These public demands have escalated since the Umbrella Movement in an environment of socioeconomic regression. Examining these two pairs of keywords—prosperity/stability and democracy/freedom—this article underscores the contention in the legitimacy of governance in Hong Kong since the closing decades of British rule. This analysis indicates that it would be unproductive for the governing authorities or the protesters to deny the earnestness of either the political or socioeconomic assertions in the ongoing contention of legitimacy to govern Hong Kong.

This article seeks to reposition the popular cinematic genre commedia all'italiana within the context of the rapid expansion of the media industries which accompanied Italy's postwar economic miracle. The article looks at three distinct aspects of the relationship between commedia all'italiana and other media. First, it outlines the important role played by the media during the boom in disseminating images of consumer lifestyles, and highlights the way in which commedia all'italiana participated in this process. Second, through a discussion of media appearances by Vittorio Gassman and Nino Manfredi, the article emphasises the extent to which their commedia all'italiana star personas were constructed and circulated in a multimedia context. Finally, it examines how the genre represented other media, focusing in particular on the representation of gender in advertising scenes. Through close readings of commedia all'italiana advertising scenes, the article notes points of continuity with and difference from advertising imagery that was circulating at the time. The article argues that in order to further our understanding of commedia all'italiana and its relationship to Italian society, it is essential to understand the genre's relationship to other media production of the period, which both influenced the comedies' representations and was influenced by them in turn.