ABSTRACT
This chapter explores the performative re-'present'-ing and re-enchantment of the past with the latest innovations in digitally sculptured holographic technologies. Manovich theorizes that the 'new information aesthetics' of CGI is based more on 'reality sampling' in approximating the actual physics involved in the construction of the image. For the transnational Chinese world of entertainment, the popularity of Bruce Lee, Teresa Teng, and Wong Kar Kui in the 1960s to the early 1990s was simultaneous with the decades of the Cold War that saw Hong Kong and Taiwan separated from Mainland Communist China. Through publicly accessible materials that are repeatedly and continuously broadcast on various media platforms to audiences in rapidly changing temporalscapes, popular culture icons have become more recognizable memory markers of different decades. The world of Chinese popular music often commemorates its departed stars with a mixture of television documentaries, live tributes, and replays of productions, songs, and films associated with these personalities.
