Taking the case of the All Cantonese Pop Music Station, launched by Commercial Radio of Hong Kong in the late 1980s, this paper investigates the intricate relations among cultural policy, broadcasting institutions and the music industry. Through analysis of this empirical case, the complex relationship between cultural policy and the development of local pop songs is also examined. The major theoretical thrust tackles the important question of whether protective cultural policies are culturally limiting or integral to creating discursive space for indigenous culture to develop.
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