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“China has become a predicament as well as a condition for Hong Kong culture” in the age of China, especially after the signing of the Closer Economic Partnership Agreement in 2003. This has become even more acute for Hong Kong culture in the integration of the Greater Bay Area, which can be seen as incorporating Hong Kong and Macao’s development into the overall development of the country. At this particular juncture, the issue of integration with the Mainland has become a topic that is of utmost importance for any consideration of the future of Hong Kong culture and the city as a whole. In this special context, the transmission of Hong Kong popular cultures in the Mainland are related topics that need to be explored. For example, what are the implications behind the success of Hong Kong directors and producers who took the helm of immensely popular Mainland television series? After Cantopop crossed the border, to what extent did the singers and the songs that they sang in Mainland music reality shows represent Hong Kong? These would be very good case studies of Hong Kong culture in cross-border ventures, and studying their transmissions would have long-term implications for not only Hong Kong culture in particular but also Hong Kong Studies in general. This essay endeavors to use these cross-border experiences as examples to offer a prolegomenon to Hong Kong (in China) Studies, which will in turn contribute to the possibility of generating a cultural studies response to the new configuration of the Greater Bay Area.

Hong Kong (in China) studies: Hong Kong popular culture as example