ABSTRACT
This chapter discusses a type of visual image that emerged from the Occupy movement in Hong Kong – ‘derivative work’, or Internet meme, a visual and photographic manipulation of found images to parody public events. A selection of derivative works emerging from and related to the Umbrella Movement (2014) are brought into discussion to examine the social, cultural and political aspects of visual images and Hong Kong’s recent history. The theoretical framework is primarily drawn from recent discussions of visual images and digital humanities. Derivative work is used by different groups with different political views and aims of which three are distinguished in the article: grassroots participatory propaganda, sexist and racist cyber culture, and the recuperation by pro-establishment lobbyists. Two critical points are highlighted in the conclusive remarks to, first, bring these three perspectives together as the three perspectives may, or may not, be treated in a linear progression; and, secondly, to suggest that forms of censorship will always be imposed on derivative work because they are direct responses to local politics. The author suggests that future practices of visualizing the street are dependent on and conditioned by legal-political progress.
