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The authors argue that the gender composition of party gatekeepers -- those responsible for candidate recruitment -- plays a crucial role in either encouraging or discouraging women candidates to run for office. Using an original data set that includes constituency-level information for all parties and candidates in the 2004 and 2006 Canadian national elections, the authors find support for this proposition. Women candidates are more likely to be nominated when the gatekeeper -- the local party president -- is a woman rather than a man. The results underline the importance of informal factors for understanding women's political underrepresentation. Adapted from the source document.

The authors argue that the gender composition of party gatekeepers—those responsible for candidate recruitment— plays a crucial role in either encouraging or discouraging women candidates to run for office. Using an original data set that includes constituency-level information for all parties and candidates in the 2004 and 2006 Canadian national elections, the authors find support for this proposition. Women candidates are more likely to be nominated when the gatekeeper—the local party president—is a woman rather than a man. The results underline the importance of informal factors for understanding women's political underrepresentation.

In post-Handover Hong Kong, one sees an influx of cultural products from mainland China, from increased radio and television programming in Mandarin to the adoption of simplified Chinese characters in some publication venues. These are symbols of the 'resinicization' of Hong Kong. Meanwhile, Beijingers proudly assert that the Chinese capital is the cultural centre of China, and they look with a combination of curiosity and disdain on the popular culture of Hong Kong. With this steady influx into Hong Kong of culture emanating from the Chinese capital, and with the imperialistic attitude of Beijing elites, one might conclude that Cantonese popular culture is in serious decline. However, this is not the case. Through a descriptive study of Cantonese popular music — or Cantopop, as it is known in the West — this article argues that Cantonese culture is a unique and irrepressible cultural force in Greater China. Further, this article argues — and this is the main point — that Cantopop has served the role of a strategic cultural form to delineate a local Hong Kong identity, vis-à-vis the old British colonial and mainland Chinese identities. The article includes a brief history of Cantopop.