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1.
C. J. W.-L. Wee 《Inter-Asia Cultural Studies》2016,17(2):305-315
This article focuses on Chua Beng Huat’s work on the East Asian pop culture that became more prominent in East and Southeast Asia from the 1990s, when the circulation of multilingual and multi-format pop culture started to exceed linguistic, ethnic and national boundaries. It argues that Chua’s work indicates that the pop-cultural production and innovation that support the globalisation and regionalisation processes in East Asia need not be national in origin but can hail from different national origins – and this despite the existing political realities of the region and its history of political fractures. Chua Beng Huat cautions, though, that the national popular can also be marshalled to defeat the border-crossing potential of an inter-Asian pop culture. What is the “Asia” imagined or being represented in such cultural production? Chua’s work is also distinctive in that it deals with the political and economic conditions that underpin mainstream pop consumption as a socio-cultural phenomenon, instead of examining consumption as identity politics. The article concludes by noting the significance that Chua as an institutional builder has played in enabling the study of East Asian pop culture in the region. 相似文献
2.
Professor Chua Beng Huat is an internationally well-known and respected sociologist and cultural studies scholar from Singapore. In early 2015, his long-time collaborator and Inter-Asia Cultural Studies co-founder, Kuan-Hsing Chen, and his former student turned present colleague, Daniel Goh, interviewed Chua on the eve of his retirement as the Head of the Department of Sociology at the National University of Singapore. This wide-ranging interview tracks a colourful biographical trajectory that expresses both the contradictions of the illiberal capitalism underpinning Singapore's rapid development and the strategic dilemmas and tactical travails of an intellectual clinging on to the representations of truth. 相似文献
3.
The contribution of Chua’s Liberalism Disavowed is very large in that it shows how the hegemony of the PAP is working and resisting liberalism, especially in the everyday world of Singaporeans. It re-interprets the origin of public support for the PAP by focusing on its embedded social democratic origin. However, we differ with Chua because we think that the PAP interpreted liberalism very narrowly and rejected it. The strong state, which overwhelms civil society, emerged, interpreting democracy centered on outputs such as stability of economy or higher standard of people’s livelihood rather than inputs such as civic participation or interaction of diverse civil society actors, and openness of the state bureaucracy to civil society. Singapore has sacrificed freedom for political unity. We derive our opinion from of the need to integrate democracy and the social and co-evolution of freedom and equality. We believe that alternative democratic models should be based on the socialization, rather than the nationalization of politics. 相似文献
4.
KWOK Kian-Woon 《Inter-Asia Cultural Studies》2016,17(2):288-304
This essay outlines an intellectual portrait of Chua Beng Huat and offers a critical appreciation of his contributions as an academic, a scholar, and an intellectual. I highlight key biographical details: his family upbringing in Bukit Ho Swee, schooling in the Chinese and English mediums, higher education and academic experience in Canada, his return to Singapore, and serving as a sociology faculty at the National University of Singapore, which he made a home base for inter-Asia studies. I discuss his pedagogical approach, which extends to his research and public engagement. In reviewing his works, I focus on the theme of communitarianism as a basis of political legitimacy in East Asia, with housing provision in Singapore as a prime example. His project presents an alternative to Western liberal democracy taken as the universal bedrock of political modernity. I characterize it as the recuperation of the social in the face of capitalist modernity, which is conducive to atomization and corrosive of solidarity. Yet, he projects the possibilities of a more politically liberalized communitarianism. What he offers is not a set of ready answers that reconcile Marx’s “realm of necessity” and “realm of freedom,” but a lucid exposition of the tensions between the two realms under contemporary conditions. 相似文献
5.
The conversation first takes up the theme of David Harvey’s public lecture in Seoul, “Realization Crises and the Transformation of Everyday Life.” Harvey stresses that the relative neglect of Volume 2 of Marx’s Capital has prevented scholars and activists from paying due attention to the crucial importance of value realization for the reproduction of capital. The discussion then moves on to the city as both a site of production and of liberation struggles, a topic so far largely neglected in the Marxist tradition. Regarding the neoliberal phase of capitalism, Harvey calls it a “new imperialism” characterized by “accumulation by dispossession” as its guiding principle. Paik agrees to that distinguishing feature as compared with the immediately preceding phase where creation and appropriation of surplus value were more prominent, but suggests that “accumulation by dispossession” may have been an essential attribute of capitalism from the sixteenth century on. After ranging over a variety of topics, the conversation looks at the latest developments in the Chinese economy, how they may illustrate Harvey’s notion of capital’s “spatial fix,” and what other potentialities may yet be found in China’s diverse and complex reality. 相似文献
6.
Sean Brayton 《Popular Communication》2017,15(4):283-295
This article focuses on representations of mental illness on U.S. network television, particularly the “police procedural” Elementary. As a modern interpretation of the Sherlock Holmes character, Elementary is unique in emphasizing the detective’s struggles with drug addiction and mental illness, as well as a long road of recovery where intellectual labor is instrumental and “therapeutic” (rather than stressful and alienating). Despite its critical acclaim, Elementary’s progressive portrayals of symptoms of mental illness in Holmes are complicated by the series’s stereotypical depiction of villains that are “mad men,” “lunatics,” and “psychopaths” driven by financial gain and individual greed. The “acceptability” of mental illness in the series is measured by a character’s compliance with the dominant social order. While Elementary provides some positive messages about mental illness, its socioeconomic commentaries individualize “madness,” violence, and the pitfalls of late capitalism to support an increasingly problematic narrative of neoliberalism and mental health. 相似文献
7.
Shinjō Ikuo 《Inter-Asia Cultural Studies》2017,18(2):269-280
Nakaya Kokichi is a writer whose work illustrates a singular unfolding of intellectual thought in Okinawa under the US military occupation. This article sheds light on the political potential of Nakaya’s thoughts through a close reading of his posthumous collection. In doing so, I pay particular attention to the three aspects of his thought. First, Nakaya’s texts reveal the violent nature of “interpellation” that sustains the system of the US–Japan military alliance. Nakaya’s work exposes the way in which such interpellation at once subject those who live in Okinawa and, therefore, prohibits them from becoming political subjects. Second, Nakaya’s writings critique the politics of Okinawan nationalist identity and seek an alternative political future in the solidarity among non-subjectified bodies. Third, Nakaya’s thoughts suggest a paradoxical possibility of Kakushi, or a death in a foreign land even in one’s own so-call “homeland,” once that helps to resituate Okinawa as an intersection of “refugees,” who remain unable to belong to nation-states, and their “histories that open up laterally.” 相似文献
8.
Abstract Following the recent trends of globalization and regionalization, the idea of Asia has been revived in political, economic, and cultural fields. This essay examines some of the various uses of this idea in modern East Asian and especially Chinese history. The essay consists of four parts. Part One discusses the derivativeness of the idea of Asia, that is, how this idea developed from modern European history, especially the nineteenth century European narrative of “World History,” and it points out how the early modern Japanese “theory of shedding Asia” derived from this narrative. Part Two studies the relationship between the idea of Asia and two forms of Narodism against the background of the Chinese and Russian revolutions – one, exemplified by Russian Narodism, attempted to use Asian particularity to challenge modern capitalism; the other, represented by Sun Yat‐sen, attempted to construct a nation‐state according to a socialist revolutionary program, and to develop agricultural capitalism under the particular social conditions of Asia. Part Three considers the differences and tensions between the “Great Asia‐ism” of Chinese revolutionaries such as Sun and the Japanese idea of Toyo (East Asia), and it discusses the need to overcome the categories of nation‐state and international relations in order to understand the question of Asia. Part Four discusses the need to go beyond early modern maritime‐centered accounts, nationalist frameworks, and Eurocentrism in re‐examining the question of Asia through historical research by focusing on the particular legacies of Asia (such as the tributary system) and the problems of “early modernity.” 相似文献
9.
Wai Siam Hee 《Inter-Asia Cultural Studies》2017,18(1):131-146
This article discusses how the Singaporean Chinese director, Yi Shui, created a Malayanized Chinese-language cinema during the 1950s and 1960s, and offers a retrospective of the way people in Malaya and Singapore framed their nation-building discourse in terms of anti-colonialism and anti-imperialism after the Bandung Conference in 1955. This article holds that the term huayu dianying (Chinese-language cinema) was not first used in the 1990s by scholars in Hong Kong and Taiwan, but that its origins can be traced to Singapore and Malaya in the 1950s where Yi Shui promoted Malayanized Chinese-language cinema in the Nanyang Siang Pau. This earlier use of the term “Chinese-language cinema” overlaps with its current academic usage, including films in Mandarin and Chinese dialects. In 1959, Yi Shui’s essays were collected in On Issues of the Malayanization of Chinese-Language Cinema. Yi Shui also directed several Malayanized Chinese-language films. This article analyzes his “Chinese language cinema” film practice by examining the discourses surrounding the “Malayanization of Chinese-language cinema” in order to show that his semi-documentary Lion City and the melodrama Black Gold attempted to mediate the misunderstandings rooted in the national boundaries and politics of various dialect groups through a “multi-lingual symbiosis” of Chinese languages. 相似文献
10.
Wai-Siam Hee 《Inter-Asia Cultural Studies》2018,19(2):310-327
This article examines anti-Communist films made by Hollywood in Cantonese and Malay in Singapore and Malaya in the Cold War context of the “Campaign of Truth.” In the early 1950s, the United State Information Agency, an arm of the State Department, secretly commissioned and funded New York Sound Masters Inc. to produce and shoot several anti-Communist films in Singapore and Malaya. In 1953, cinemas across Malaya and Singapore screened Singapore Story and Kampong Sentosa, two Cold War products of the “Campaign of Truth.” In addition to analysing the ideology of these films, this article also combines declassified archive material from the US and Singaporean National Archives with primary materials from UK, US, Singaporean, and Malayan periodicals from the Cold War era in order to explore how these two films use Malay and Cantonese to narrate a Hollywood’s version of the Singaporean story. As these two films have been largely passed over in scholarship and the films and archives have not been regularly accessible, records of these films are absent from histories of film and television in the US, Singapore, and Malaya. This article aims to remedy this absence. 相似文献
11.
Lu Xinyu 《Inter-Asia Cultural Studies》2018,19(2):294-309
This article starts with the “encounter” between feminists in the “International Symposium on Chinese Women and Visual Representation” and Chinese documentary filmmaker Xu Tong’s Wheat Harvest, and explores the viewpoints and standpoints of feminist actors. With the analysis of the similarities and differences between the independent documentary perspective and the feminist stance, the author elaborates more deeply on why Chinese female directors do not have the consciousness of “feminism.” China’s independent documentary shows how the issue of feminism in China is intertwined with China’s various complex socio-political issues. The way of Chinese documentary filmmaker as “living with the bottom rung” is a kind of practical behavior that seeks truth by integrating itself with it. This requires great courage and idealism, as well as social experience. The bottom layer is where the dark side of the society exists which is beyond the law and morality. The question raised is precisely how to promote the development of feminism and documentary together to work for an equal and just society itself. The more urgent task of Chinese feminism is how to rethink the relationship between the reality of China and feminism, and how to re-establish effective dialogue and cooperation with various critical forces in this society. In the historical perspective of the feminism development of China over one century, gender and women's issues have never existed in isolation, but have moved forward with various social and political movements. How to re-examine this historic heritage to face China's problems and crises today is an uncompleted answer that China's feminism must hand over. 相似文献
12.
Audrey Yue 《Inter-Asia Cultural Studies》2017,18(1):10-24
From the transsexual sex workers of Bugis Street to the self-fashioning butches of the current creative economy, trans-visibility has always been an iconic feature of Singapore’s public culture. Using three case studies that examine colonial transsexual subculture, postcolonial transgender biomedical modernity and the contemporary inter-Asian performances of tomboy boybands, this paper examines these practices of trans-embodiment to reveal their centrality to Singapore’s modernity. While the recent transgender turn in the West has resulted in trans-visibility and acceptance, this paper will critically show how the experience of trans-visibility in Singapore provides a different model to consider the narrative of progressive modernity. It concludes by gesturing to this new model – one that does not replicate Eurocentric ontology – through further demonstrating these practices as strategies for the critical paradigm of “queer Asia as method.” 相似文献
13.
Sara Selwood 《Cultural Trends》2018,27(4):270-295
ABSTRACTThis article contends that there are considerable similarities between nineteenth- and twenty-first-century aspirations for museums – not least, in respect to promises of “museums for the many”. Despite contemporary policy makers of different political allegiances embracing similar rhetorics, in general they appear to have had little interest in reflecting on previous realities. This article focuses on attendances at three national museums, in particular the British Museum, the National Gallery and, the Victoria & Albert Museum (formerly, the South Kensington Museum) over two periods: from the early 1850s to the late 1880s, and from the late 1970s to the present. It interrogates those and other institutions’ visit data for evidence of whether they did, indeed, deliver to “the many”. It questions the commitment of state-supported museums to those target audiences, both then and now. 相似文献
14.
Meaghan Morris 《Inter-Asia Cultural Studies》2016,17(2):272-287
Focusing on the relationship between Chua Beng Huat’s sociological thinking before the Inter-Asia Cultural Studies project and his more recent famous works on consumption and popular culture, this essay seeks to understand how he has produced a methodology and a mode of authority that is effective for the context he inhabits in Singapore as well as resonant for scholars working elsewhere. After discussing his interest in large rather than ‘cult’ popular cultures, his emphasis on the detail of government processes as well as popular practices, his economically-grounded concept of consumption and his materialist approach to texts, I read his work on ‘nostalgia for the kampung’ as modelling an Inter-Asian way of doing Cultural Studies that helps us ask questions and develop concepts for our own local contexts. 相似文献
15.
16.
Rosemary Overell 《Inter-Asia Cultural Studies》2018,19(2):206-219
This article considers hikikomori as willful subjects. The hikikomori are a portion of the Japanese population who withdraw into their homes. These are mostly young people (between the ages of 15 and 35) and mostly young men. The focus of this article is how hikikomori constitute a challenge to dominant national imaginaries of Japan as a “corporate-family system.” This article analyses popular media and psychiatric representations of hikikomori, particularly from Saitô’s work as exemplifying Ahmed’s notion of “willful subjects.” It is argued that the hikikomori’s apparent willfulness produces them as Queer subjects who are out of place and pace with the dominant heteronormative, masculinist culture of contemporary Japan. 相似文献
17.
Ratheesh Radhakrishnan 《Inter-Asia Cultural Studies》2016,17(2):206-222
This paper, focusing on the short film, Dear Kim (2009), and a debate between Polish filmmaker Krzysztof Zanussi and Marxist intellectual P. Govinda Pillai at the International Film Festival of Kerala (IFFK) in 1998, attempts to understand the work done by the category of “world cinema” and the institution of the film festival in the formation of the subject of the region, in this case the south Indian state of Kerala. It focuses on the linguistic region formed in post-independence India, thought of as either mirroring or resisting the nation, and as a cultural resource necessary to inhabit the nation as a citizen. The paper argues for a conception of the subject of the region that is performative, where it negotiates multiple horizons of universality simultaneously. While the figure of the citizen provides it with one horizon of universality, the subject is not exhausted by it. In the case of Kerala, through the figuration of a conception of “world,” operationalized through the conduit of “world cinema,” often located in the institutional space of the film festival, the subject is able to access other horizons of universality, enabling it to transcend the particularities that a politics of location imposes on it. 相似文献
18.
Mayumo Inoue 《Inter-Asia Cultural Studies》2018,19(4):536-550
ABSTRACTThis article first examines the resurgence of popular, semi-academic nationalist discourses that solidify the figures of “Japan” and “Okinawa” within post-1945 U.S.-led formation of nation-states across the Asia-Pacific. It critiques two discourses that are symptomatic of such a return to the figure of the nation: developmental economist Matsushima Yasukatsu’s thesis of “Ryukyu’s independence” and philosopher Takahashi Tetsuya’s call to relocate the U.S. military bases from Okinawa to mainland Japan. These symptomatic instances of the mutually transferential nationalisms in Okinawa and mainland Japan rely upon crudely culturalist assumptions about the self and the others and are thus surprisingly oblivious to how the very nation-forms have been instituted as part of imperial modernity. Their implicit figurations of the exemplary national subjects partake in the biopolitical assumptions as to whose lives must be “made to live” and “made to die” within and outside the border of the national. Ultimately, such nationalist discourses about Japan and Okinawa engage in a zero-sum exchange of imperial shame and colonial shame, a process that further stabilizes the co-operative placement of local nation-forms within the U.S.-led inter-state regime of warfare and biopolitics. But insofar as these discourses require the images of the nations that they seek to represent, their (re)production of what Naoki Sakai calls “a schema of co-figurative” nationalities needs to be critiqued through an exploration of a radical aesthetics and affect that pertain to image production.The second part of the article presents my interpretation of artist Nema Satoko’s recent book of photography titled Paradigm, a work in which both bodies and objects explore their potential transformations in the midst of their precarious exposure to one another. I argue that Nema’s images of fragile bodies and objects in the present landscape of Okinawa are poised on the cusp between the past that invokes a sense of shame and this past’s potential future that necessitates an ethical posture of humility. In the vicinity of Adorno’s notion of “art’s shame,” Nema’s photographic images illuminate an amorphous realm of fragile beings, whose linkage and exposure to one another opens a space of viability that is obscured by the biopolitical imaginaries of nation-forms. 相似文献
19.
Changwook Kim 《Inter-Asia Cultural Studies》2019,20(1):39-55
This study aims to reconsider and re-evaluate the rapid circulation of global creative city policy from the viewpoint of its creative workforce by focusing on the case of Yokohama, Japan. To shed light on this workforce’s everyday experiences and labor subjectivity, this investigation draws ideas from recent research trends of “creative labor” from the field of media and cultural studies, sociology of work, and political economy of communication. Based on in-depth interviews and participant observations, this research focuses on how the ethical and moral dimensions of labor subjectivity in creative work are prominently important in explaining Yokohama workers’ everyday living and working experiences as creative labor. Unexpectedly, this study found that these moral and ethical sentiments and actions, which take on the role of retaining their labor motivation, actually limit the development of political subjects who can resist given precarious working conditions and thereby hinder them from building a collective solidarity as “workers.” Thus this investigation concludes that the creative worker’s subjectivity retreats to solely a moral dimension rather than to a political one. Through this finding, this study explores whether the articulation of moral-political and social values in the course of cultural work can evolve from creative workers’ moral and ethical sensitivities and actions. 相似文献
20.
《Journal of Intercultural Communication Research》2013,42(3):275-299
The study examined media coverage of Israeli citizens convicted of committing political crimes against the state in order to determine how the media portrays such perpetrators, ultimately to discern what these framing choices suggest about citizens involved in political crimes. In contrast to external acts of political crime for which the explanation provided by the media is clear, mainly that the perpetrator, “the other,” is evil and acting against “us,” this study found that when the perpetrator is “one of us” there is a profound need in the media to find a multidimensional explanation for the act. This study found that the Israeli media applies a personalized news frame to portray each of “our” criminals differently and explain their motivations to the public. 相似文献