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1.
Abstract

Hong Kong's film industry has been living through and beyond the 1997 handover to China. Along a complicated socio-economic and cultural heritage, the city's “crisis cinema” successfully milked takeover fears for an anarchic display of showmanship. Local filmmaking conditions, popular narratives and aesthetics from that time can be identified as ingredients in a “chaotic formula” that instigated Hong Kong cinema's “Golden Age.” Unlike other film industries, which point to their disaster centres in a search or celebration of national identity, Hong Kong survived at a fragile historic juncture largely by sailing around the cliffs of political affront and resorting to metaphorical speech instead. Yet, following the handover, the film industry has retired its previous attitudes about itself and the future; it has integrated a new “China factor” and riddled cinema with contradictory statements about the “condition” of Hong Kong. System failure, madness and identity theft in crime stories appear alongside celebratory historicism, cultural allegiance and escapist spectacle, especially in Hong Kong-China co-productions. This paper follows the evolution of the crime genre along general dynamics and transformations of the formula from the 1980s, past the turbulent 1990s and into recent postcolonial Hong Kong, in which the inability to formulate a new crisis, or the resolution of the previous one, has put cinema itself into crisis.  相似文献   

2.
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   

3.
This article describes two approaches to improving literacy in a high poverty, diverse urban high school. One curriculum program, “Striving Readers,” included a prescribed course of study for students reading below grade level along with schoolwide strategies. This approach did not improve targeted students’ reading scores or motivation to read. The alternative approach, “Deep Roots: Civil Rights,” was a culturally responsive curriculum that had a strong impact on the identified students’ academic development as well as their understanding of racism in this country. An examination of “Striving Readers” and “Deep Roots: Civil Rights” projects provides insight into the impact of the curriculum on student achievement and motivation. At a time when many schools are implementing the Common Core State Standards, this article is a reminder that a compelling, rigorous, culturally responsive curriculum best serves all our nation's schoolchildren. Projects such as “Deep Roots: Civil Rights” provide an effective alternative or complement to prescribed reading programs.  相似文献   

4.
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5.
This paper analyzes the role of the media in China during the cultural revolution 1966–1976. In particular, the authors examine the two elements that contributed to the ease with which the “Gang of Four” subverted the media to their own political ends. They contend that the media's history and culture were the two principal elements which allowed the “Gang of Four” to usurp both media and state power. Criticism represented a special cultural genre that established the legitimacy of one group to remove another from power. The authors demonstrate the inherent possibility of usurpation of the media when truth is dominated by personality.  相似文献   

6.
Abstract

After the Regulations on the Administration of Movies came into force in 2002, Johnnie To became famous for sticking with the Hong Kong market while Hong Kong filmmakers rushed north. In Drug War, his 50th film, he decided to bring his unique genre to the Mainland for the first time. Drug War was the first Johnnie To gangster film to be shot entirely in the Mainland. Despite its outstanding box office record in the Mainland, some Johnnie To fans would lament that his typical style is missing in Drug War, a film that has become “realistic.” This paper argues that Johnnie To's “northern expedition.” backed up by a tradition of translations between business and pleasure, has to be interpreted against the backdrop of his production company Milkyway Image (HK) Ltd. Johnnie To, as a migrant crossing the border, brought with him the long tradition of cultural translations from Milkyway Image, which acted as a “seed of the untranslatable” in Homi Bhabha's term. It was this untranslatability of Milkyway-cum-Hong Kong flavour that distinguished To from other Hong Kong directors who were assimilated into the Mainland market as a simple mélange. To capture the rich inter-textual allusions to not only Milkyway Image but also to Hong Kong in Drug War helps one to understand how Hong Kong cinema can move on in the age of Chinese cinema.  相似文献   

7.
ABSTRACT

This article develops and troubles existing approaches to visual self-representation in social media, questioning the naturalized roles of faces and bodies in mediated self-representation. We argue that self-representation in digital communication should not be treated as synonymous with selfies, and that selfies themselves should not be reductively equated with performances of embodiment. We do this through discussing “not-selfies”: visual self-representation consisting of images that do not feature the likenesses of the people who share them, but instead show objects, animals, fictional characters, or other things, as in the practices of #EDC (“everyday carry”) and #GPOY (“gratuitous picture of yourself”) on platforms such as Tumblr, Facebook, Instagram, and reddit. We present an account of self-representation as an emergent, recognizable, intertextual genre, and show that #EDC and #GPOY practices are best conceptualized as instances of self-representation.  相似文献   

8.
This article examines the development of hacking and cybersecurity software packages as commodities, based on an international political economy of vendors and clients operating in the interstices of international law. Offensive hacking and defensive cybersecurity tools offer new means for surveillance of critics, journalists, and human rights workers, especially in corrupt or authoritarian political systems. The article provides a case study of the Hacking Team, an international “cybersecurity” firm offering spyware and surveillance systems to government security agencies, which was itself hacked and “doxed” in 2015. The leak of documents contributes new knowledge of an international political economy for software products, which exploits the digital rights of targets and which could further undermine general Internet security.  相似文献   

9.
Abstract

This paper proposes new conceptual frameworks for “inter-Asia studies” in order to be more appropriate for addressing and redressing the demands of global patriarchal capitalism as well as overcoming the “regime of separation” of Asian studies from African and/or Latin American studies. To do that, first, I will problematize the male-East Asia-metropolis centeredness of “inter-Asia.” Then, I will try to locate “inter-Asia studies” into the field of “tricontinental studies” invented by the decolonial and deimperial spirit of connection between the colonized continents of Asia, Africa and Latin America. In the third section, I will propose a “feminist inter-referencing reading” that involves shuttling back and forth between the postcolonial sub-regions of Asia, Africa and/or Latin America horizontally from the location and perspective of gendered subalterns rather than upward-mobile metropolitan feminists. The feminist standpoint that reading takes is combined with the conceptual frameworks of labor, ecology and ethnicity. It is also held that such a feminist inter-referencing reading needs the imaginative and interpretative metaphor of the “planet” to overcome the Westernized notion of the “nation” and “globe” as well as the concept of “universality shared by all humans” not monopolized by Westerners. Lastly, this paper will illustrate the new kind of “tricontinental studies” by providing an example of “feminist inter-referencing reading” which connects and compares the sub-regions of South Korea, Vietnam and Liberia.  相似文献   

10.
Abstract

1997 as a global media spectacle about Hong Kong’s handover of its sovereignty from Britain to China is now almost forgotten; yet Hong Kong is still caught between the politics of time and memory too complex to be captured under simple post‐colonialist notion such as ‘hybridity’. This paper tries to put in perspective a (post‐)colonial cultural politics of counter‐memory in Hong Kong cinema by investigating its decades‐long investment in a sub‐genre built around the motif of undercover‐cop. Specifically, the example of the blockbuster Infernal Affairs series is analyzed in details, with particular attention to its innovative plot, to show how the ‘structure of feeling’ about Hong Kong’s political fate is embedded in the films underpinning their local box‐office success. The allegorical reading of the film series attempted in this paper also connects the discussion about the ‘political unconscious’ of Hong Kong, now and in the past, with the wider problem of how the future political subjectivity of Hong Kong will take shape.  相似文献   

11.
In France, the social-stratification model based on Bourdieu's Distinction is still one of the main theoretical models used to analyse cultural tastes. The distinction model asserts a hierarchical classification of tastes and genre and an aesthetic judgment based on rejection. In the musical field, Richard A. Peterson challenged the model showing the eclectism and the mix of classical and popular genres among the tastes of elite. Changes in taste judgements in multicultural societies problematise the understanding and representation of the structuration of tastes. In reference to the 2008 statistical survey on French cultural practices and tastes, this article challenges conventional understandings of the taste patterns informing music consumption in contemporary France. In doing this, the article utilises a ‘tablature of tastes’ model which infers the incommensurability of musical genres and taste judgments no longer based on “rejections/dislikes” but rather on “openness/tolerance” or “indifference/ignorance”. Our analysis tests the “tablatures” of musical likes, dislikes and indifferences hypothesis within the French population through a factor and classification analysis method. Six classes of musical taste emerge with a limited share of dislikes and a strong age differentiation. It confirms a major transformation in judgments of taste in the musical field.  相似文献   

12.
An introduction     
Abstract

Political and historical thoughts pertaining to “modern Malaya” and Malaysia are phenomena of the emerging modern era characterized by the stirrings and the rise of nationalism in Southeast Asia since the early twentieth century. One of the most compelling ideas in envisioning the nation and fighting for independence then was Melayu Raya, articulated by a group of visionary leaders of socio-political movements who professed to fight for the creation of a political entity, a new independent “nation.” Using the history of ideas approach, this article argues that nations are envisioned, and that we need to contextualize the discussion within what has been termed as “Malay world,” the old kingdoms in the region, and the subsequent struggles against colonial powers and the “nationalist” projects for independence. To help understand this background, the article uses the concept of “culture zone” as used by Fernand Braudel in his study of civilizations. This article examines the debate on the “Malay world” and Melayu Raya, and also the post-Second World War envisioning of the nation and the approaches taken by various groups to fight against British colonialism and for independence. Despite almost six decades of independence, some of these ideas keep returning, resonating with some aspects of the present in today's Malaysia. In the course of this article, a brief reference to the history of ideas and the idea of history is made.  相似文献   

13.
This article argues that the term wa?an (“homeland”) was used in new ways in Arabic texts describing Syria from the sixth/twelfth and seventh/thirteenth centuries. The authors of these texts understood wa?an in its older sense as an affective attachment to land but assigned it new meaning as a territorial category of political and religious belonging. By analysing first the use of wa?an in Arabic literature from the third/ninth and fourth/tenth centuries and then its use in these later texts, this article proposes a re-evaluation of our assumptions about the role played by territory in defining political and religious allegiances in the pre-modern era and, thus, about the relationship between the pre-modern concept of wa?an and the modern concept of wa?aniyya, or “nationalism”.  相似文献   

14.
ABSTRACT

The term “classical” is often applied to the genre of Iranian music known as musiqi-e sonnati (traditional music), normally identified by a form of music making involving extensive extemporization based on a structural framework called the radif, historically performed at length in intimate settings among initiated individuals. Today, classically trained musicians working the public concert circuit in Iran face a somewhat different picture of musical practice. Concert halls are typically much larger, audiences much wider, and performances much shorter. Many musicians tend to categorize themselves as classical, though they do not always perform according to the traditional parameters of the sonnati genre. This raises questions about new developments in classical music that fall just outside radif-based performance, and about the perceived conceptual relationship between sonnati and new-classical performance as the genre evolves. This article explores some of these dynamics through reflections among performers navigating Tehran’s classical concert circuit today.  相似文献   

15.
ABSTRACT

Since 2009, there has been a renewed trend in Taiwan's intellectual circles to explore Chen Yingzhen. In this lies a strong and unprecedented inclination to explore in Chen Yingzhen's literary works the enormous resources he provides as a thinker. As one of the researchers who has undertaken such an approach, I intend to address three issues in this article: first, his relation with people of my generation and the reason to re-read him at this moment; second, how I, as an amateur in terms of literary works or literary criticism, read literary texts. I address this issue in terms of methodology and theory, and propose a reading method consisting of a triple intersecting process among the text, the author and the history. Thirdly, and perhaps the most importantly, I address the issue of “why do we have to read Chen Yingzhen now” from three levels: history, thinking and literature in order to explore the particular situation his literary works have in contemporary literature, as well as its intellectual meaning in the contemporary world.  相似文献   

16.
By explaining the different trajectories that the “Bandung spirit” has taken since its inception in the mid-1950s, including various popular organizations that have not only been influenced by the Bandung conference but have taken the original ideas and actions into more progressive directions, it is argued in this article that the inclusion of the popular element is not only important to understand the history of the “Bandung spirit” but is also a necessary part of our thinking about the future of Bandung as a political project.  相似文献   

17.
The present study aims to gain an understanding of the patterns of representation and appearances of Palestinian citizens of Israel in the genre of reality shows in Israel. This genre has become extremely dominant in the television-broadcasting schedule. The mere fact that Arab people are visually present in TV entertainment, and in reality shows more specifically, should not lead us to conclude that Israeli TV is witnessing a move toward pluralism. It is important to examine the precise mode of representation of the “others.” That is to say: we must look at the visibility of Arab participants in those reality shows in which they appear (research question 1); how Arabs are represented in such programs (research question 2), and at the types of interaction between Arabs and other, Jewish-majority, participants in the program (research question 3). Content analyses were conducted for all reality shows broadcast on Israel's commercial TV channels between 2003 and 2007 that included Arab participants. Results show the reality show genre is still firmly ruled by a Jewish hegemony that represents the Palestinian Arab as the “other” and that the overwhelming majority of spectators are Jewish.  相似文献   

18.
ABSTRACT

This article theorizes the affective forms that Asian-Indigenous alliances might take, using examples from contemporary Canadian film and literature as a cultural testing ground. Building on the efforts of scholars like Rita Wong, Larissa Lai, and Malissa Phung to trace a literary genealogy of Asian-Indigenous relations in Canada, the article first considers the structures of feeling which bolster efforts towards coalition-building between Asian settlers and First Nations. Rather than extending an optimistic or redemptive model, the article suggests that negative affect (or, what Sianne Ngai calls “ugly feelings”) ought to be taken seriously as both an unavoidable presence and a potential catalyst in and for active solidarity. The article then analyzes Sto:lo author Lee Maracle’s short story “Yin Chin” and Peter Blow’s documentary film A Village of Widows with an eye towards how bad feelings underpin the narrative calls to action in both texts. The article concludes by considering the role that bad feeling can and does play in terms of inter-referencing practices among cultural and historical scholars.  相似文献   

19.
ABSTRACT

While selfies of beautiful cisgender women are declaimed by mainstream media as narcissistic and facile, some body-positive feminists and queer theorists argue that selfies can be empowering. They claim self-representation by traditionally stigmatized people can challenge normative presentations of beauty and gender. This article problematizes “empowerment” as a definitive and/or productive frame and argues instead for observation and analysis of “privilege” in situated practice. In this article I combine analysis of a collection of online cultural artifacts (including nonbinary selfies on Tumblr) and interviews with a small group of trans* social media storytellers to explore theoretical tensions between gender fluidity and identity fragmentation across multiple social media sites and practices. Gender-diverse digital self-representation encompasses both “consistent” androgyny, nonbinary, agender, and so on, and “emergent” presentations-in-flux. I assert that the ongoing iteration of self across social media—implied by self (re)presentation—can have simultaneous and contradictory political significance. I conclude that networked interpersonal complications frame understandings of empowerment, as perhaps they always have done.  相似文献   

20.
ABSTRACT

This article traces the transformation of an Iranian nationalist poem by Simin Behbahani entitled “I Will Rebuild You, Homeland” (1981) into an expatriate national anthem, and the poem-song’s subsequent incorporation into protests and political speeches by individuals and groups in and outside of Iran. Employing musical and textual analysis, interviews, and a transnational perspective on cultural circulation and reception, I show how exile pop singer Dariush Eghbali’s adaptation of the original poem mobilized the text and opened it to audience participation. The article argues that the poem and its musical–textual permutations exemplify contemporary Iranian practices of national identification in which conflicting parties attempt to motivate “the Iranian people” to political ends. As actors from around the world and across the political spectrum repeatedly turn to nationalist poetry, song, anthem, and political speech, we observe how mass-mediated popular culture reveals ongoing recourse to nationalist forms even in transnational space.  相似文献   

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