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1.
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   

2.
Abstract

This paper aims to engage in a critical analysis of the concept of ‘accented cinema’ recently developed by Hamid Naficy to refer to the emergent genre of exilic/diasporic filmmaking. Naficy’s theorization of ‘accented cinema’ in particular and discussions around exilic/diasporic cinema in general will be challenged on the basis of the observation that the cinematic styles and thematic preoccupations associated with exilic/diasporic films consistently appear also in wide‐ranging examples of contemporary ‘world’ cinema that are often classified under the rubric of ‘national cinemas’. To illustrate this observation, the paper provides a parallel reading of three recent films – A Time for Drunken Horses (1999) by Kurdish‐Iranian director Bahman Ghobadi, Happy Together (1997) by Hong Kong director Wong kar‐wai, and Distant (2002) by Turkish director Nuri Bilge Ceylan – whose directors cannot possibly be considered as ‘exilic/diasporic’ in a conventional sense. Yet, it will be argued, the styles and thematic concerns associated with exilic/diasporic cinema manifestly prevail in all three films discussed in this paper as well as in many other examples of contemporary ‘world’ cinema. Departing from this observation, the paper will open up the new genre of ‘accented cinema’ to further questioning and suggest that unless the mutual entanglement between exilic/diasporic filmmaking and national cinema is disclosed, the notion of ‘accented cinema’ will not be sufficiently able to realize its critical potential.  相似文献   

3.
Hong Kong cinema is an emerging component of the booming Chinese film industry twenty years after the transfer of Hong Kong’s sovereignty from Britain to China. Hong Kong filmmakers and film companies now routinely collaborate with the mainland industry to produce for the mainland audience, prompting many creative artists and companies of the Hong Kong industry to relocate to the mainland. Based on the fundamental idea that both mainland Chinese cinema and Hong Kong cinema are constantly reshaping as a result of inter- and trans-cultural exchanges, this article adopts a bottom-up approach to re-examine the top-down-managed cultural nationalisation of Hong Kong cinema. Hong Kong (co-)produced films are increasingly devoid of local sensibilities and identities. Film companies and talents of the Hong Kong film industry, at least in the mainstream sector, are gradually incorporated into the film industry in the mainland. Notwithstanding these overwhelming tendencies, I suggest that Hong Kong cinema’s legacies exist beyond narrative strategies and genre approaches, and have started to show in film companies’ role in, and their capability of, challenging and reshaping the future of the Chinese screenscape. Specifically, through the examination of a series of film projects from Milkyway Image, a Hong Kong-based film production company, this article shows that Hong Kong cinema’s renationalisation is a process of simultaneous cooperation, negotiation, and resistance.  相似文献   

4.
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5.
Abstract

After having lain dormant for some 20 years during 1973 and 1991, the Singaporean film industry is experiencing a revival. Films produced since the early 1990s have been resolutely ‘local’ in their portrayals in an effort to ground this emergent cinematic modernity. Only a handful of these films have, however, received any international attention; most remain ‘too local’, ‘too colloquial’ to be exported further afield. This paper explores those visions or versions of the local presented in contemporary films from Singapore that simultaneously manufacture a brand of foreignness assimilable by international audiences. Through an overview of films from the revival period, this paper will show that the images that do travel successfully overseas are those that portray the dark side to Singapore’s road to economic modernization, the failed processes of an Asianized modernity. It is these images, representing one vision of an ‘authentic’ social reality, that is recognizable by international audiences in the context of previous successes by Asian films utilizing a shared form of (local) expression. My question is whether we can read these images as a particular kind of ‘slang’ – a vagabond expression that represents a filmic vernacular that also strategically invokes a cinematic modernity for the Singaporean film industry. This argument may extend to other (emergent) Asian cinemas that also participate in the production of this particular brand of foreignness. The paper will therefore provide some initial speculations towards the regionalization of cinema and ask whether such a move might be desirable and what its purpose might be.  相似文献   

6.
Abstract

In December 2005, a film called Be With Me, by Singapore director, Eric Khoo, was disqualified from entering the Best Foreign Language Film category at the following year’s Academy Awards on the grounds that it contained ‘too much English’. An Academy spokesperson attempted to explain this decision with what was apparently obvious, that ‘English is not a foreign language’. In an age where issues of cultural migration, hybridity, diaspora and globalisation are de rigueur, this intractable declaration seems almost comic. However, it indicates a continued ambivalence in the role of the English language in the making of a cultural identity: the perennial post‐colonial conundrum that shows no sign of going away. Singapore’s post‐independence decision to keep English as the first language of the country means that the use of English, albeit with local variations, is a quotidian reality. I would like to use this incident to reflect, not so much on the politics of Oscar selection, as perhaps more importantly, on the implications it presents for the internationalisation, and thus the ownership, of English, as well as its role as a marker for both local and global subjectivities – especially when the irony of the situation is compounded by the fact that Khoo’s film is, in effect, mostly silent.  相似文献   

7.
Films produced since the 1990s revival of Singapore cinema have been interpreted through a historical backdrop consisting of the nation's rapid development, participation in the global economy and authoritarian one-party governance. Film historians have described these texts by relying on discourses associated with globalization and postmodernism. This paper finds the perspective of Singaporean films to have overlooked colonialism as a significant part of Singapore's cultural identity and argues that greater consideration of that history can not only illuminate contemporary films, but also expand film scholarship to include understudied films from Singapore's ‘golden age’ of filmmaking from the 1950s to early 1970s. The history of Singapore cinema should thus be re-periodized. By analyzing the heuristic function of colonial urbanity in films from both eras, this paper explores how spatiality provides a common thread that runs through local experience, identity, culture and cinema.  相似文献   

8.
Taking action cinema as an example, this paper outlines a historical approach to the transnational study of globally popular cultural forms. Action cinema has long had a complex economy in which Hollywood not only trades stars, styles and narratives with the hybrid culture of Hong Kong cinema itself, but draws on a vast ‘direct to tape’ industry significantly based in East Asia. The paper outlines a Hong Kong‐based approach to two earlier phases in the history of action: the ‘international co‐production’ as an industrially innovative form (1973–85), and the golden age of the ‘direct to tape’ industry enabled by the rapid spread of video technology (1985–93). Focusing on the latter, it suggests that the global uptake by filmmakers of a ‘contact’ narrative and an ethic of emulation taken from Hong Kong cinema allowed direct‐to‐video action to address issues of social class in emotionally complex ways.  相似文献   

9.
Abstract

Press reviews of Hou Hsiao‐Hsien’s films appeared in a range of European magazines at a time when Hou’s films were hardly, if at all, available for watching in European cinemas. This essay asks what, in this context, may have been the reviews’ function. By way of an examination of a representative sample of these texts, I argue that, far from negotiating a relationship between, on the one hand, the producers, distributors and exhibitors of Hou’s films and, on the other hand, Hou’s European public, reviews of Hou’s films served to mediate the gradual and capillary instillation of new modes of viewing films. Reaching Europe very sparingly at a time when European cinemas had finally capitulated to the increasingly aggressive marketing strategies of distributors of Hollywood produce, the construction of Hou Hsiao‐Hsien as an auteur became available for the ‘educational’ realignment needed in order to sell Hollywood cinema better, not in spite of, but because of, the negligible European circulation of Hou Hsiao‐Hsien’s films.  相似文献   

10.
Abstract

Through much of post‐colonial history and particularly during the so‐called ‘New Order’ (under General Suharto), Indonesian citizens of ethnic Chinese descent have been caught in a strangely ambiguous position: they have enjoyed enormous economic power while at the same time being threatened with politico‐cultural effacement. This paper is an attempt to understand that ambiguity in relation to the Indonesian cinema – both around questions of industry history and around issues of representation of national and ethnic identity on screen. The paper traces the presence, the erasure and the absent‐presence of Indonesia's ethnic Chinese minority from the establishment of a film industry in Indonesia in the 1930s to the post‐New Order political shifts, opening up possibilities for a new public discourse of Chineseness. I argue however that the openness of current Indonesian culture and politics, while providing the necessary condition for re‐imagining the Chinese Indonesians, does not ensure a radical shift in a politics of representation, deeply embedded in the textual practices of the film industry and more widely in the cultural and political history of modern Indonesia.  相似文献   

11.
Abstract

Despite little improvement in the socio‐political predicament of Okinawa since its reversion to Japan, culturally there has recently been something of an ‘Okinawa boom’ in mainland Japan. This has involved a huge interest in Okinawa and Okinawan cultures in mainland Japan and an increasing ‘consumption’ of Okinawan goods and cultural artefacts. One of the symptoms of this trend has been the growth in the last five years or so, in the number of films set in Okinawa. Many of these films present conventional stereotypical images of Okinawa and, whether wittingly or not, have contributed to the ‘cosmetic operation’ of Japan’s multiculturalism by providing a utopian vision of Okinawanness and erasing Okinawa’s problems from the screen. However, an Okinawan filmmaker, Takamine Go, critically challenges such stereotypes and Japan’s cosmetic multiculturalism. This paper focuses on Takamine’s Untamagirū (1989 Takamine, Go. 1989. Untamagirū  [Google Scholar]) and Tsuru‐Henry (1999). It examines the cinematic strategies mobilised by these films – the use of different languages, allegorical implications, complex montages of image and sound, and the departure from conventional narrative realism. These strategies, it will be suggested, not only enable the films to explore complex forms of public memory and history but also to challenge the notion of a homogeneous Japan and its ‘quasi‐orientalist’ gaze towards Okinawa. The paper then proceeds to argue that Takamine’s films should not simply be regarded as a ‘regional’ variant of Japanese cinema but as a ‘specifically Okinawan cinema’ that both overlaps with and opposes a ‘national’ Japanese cinema.  相似文献   

12.
Abstract

In this essay, Ho Tzu Nyen attempts to unearth a subterranean narrative that threads through three films produced by three male Singaporean directors – namely Mee Pok Man (1995) by Eric Khoo, 15 (2003) by Royston Tan, and Zombie Dogs (2004) by Toh Hai Leong. This narrative of unconsciously repeated motifs that migrate from film to film is in turn analyzed as a recurrent symptom that haunts a number of Singaporean cinematic productions from the 1990s onwards. This symptom, which can be summarily described as a paranoid relationship to ‘otherness’, makes manifest a variety of psychic tendencies such as morbid fear of impotence, misogyny, and fetishization of the social other. For Ho, such impulses are in turn intricately linked to what he, following the literary critic Harold Bloom, calls ‘The Anxiety of Influence’. For Bloom, every poet embarks upon his career after a prior encounter with another poet, or poem. As a result, the ‘late‐coming’ poet inevitably suffers from a sense of threatened autonomy, because his profoundest insights and deepest desires are always already elucidated by another. For the Singaporean filmmaker, Ho argues that this ‘anxiety’ in relation to the cinematic tradition takes on a peculiar nature and a doubled pressure, for the canon that inspires them is perceived as being something essentially foreign. Hence the Singaporean filmmaker makes cinema as though he is stuttering in a foreign tongue. Therefore, the concept of ‘the anxiety of influence’ is modulated and compounded with a ‘postcolonial anxiety’. In addition, Ho also draws upon the concepts of the philosopher Gilles Deleuze in an attempt to sketch out an ontology of cinema that at once functions in a deconstructive relationship to ‘auteur‐driven’ modes of analyses, while avoiding what he perceives as the overly ‘sociological’ bent that characterizes much of the existing corpus of writings on Singaporean cinema.  相似文献   

13.
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   

14.
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   

15.
Abstract

This study documents the growth of the discourse of ‘god‐king’ (devaraja) around Thailand's King Bhumibol and explores how Brahmanical symbolisms of royal absolutism have acquired renewed potency alongside Buddhism as a basis of political legitimation in 21st century Thailand. Previous studies have interpreted the growing trend for Thailand's constitutional monarch to be represented as a ‘demi‐divine’ ‘virtual god‐king’ to reflect an ideological strategy set in train by mid‐20th century authoritarian military rule. However, political processes alone do not account fully for the persistence and intensification of this phenomenon since the end of military dictatorship. The pre‐modern discourse of ‘god‐king’ has also been given new life by visual media and the spectralisation of life under neoliberalism, which together produce a regime of representation that auraticises King Bhumibol. These technologies of enchantment have permitted emerging prosperity religions to be harnessed to a conservative nationalist agenda and, together with Thailand's strictly policed lese‐majesty law, have institutionalised a commodified and mass‐mediatised ideology of magico‐divine royal power that works to legitimate King Bhumibol's acquisition of political influence.  相似文献   

16.
Abstract

In Hong Kong, even though the Bill of Rights Ordinance (the localized version of ICCPR), Sex Discrimination Ordinance and a series of legal reforms (such as the cancellation of marital exemption of rape and the recognition of sexual discrimination in criminal law) were enacted and introduced respectively since the 1990s, gender/sexual discrimination in the legal discourse still persists; for example: Chinese customary law which only recognizes the male’s right to build small houses in the New Territories remains an exception under the Sex Discrimination Ordinance; the government insists on not tabling an anti‐sexual‐orientation discrimination bill; the right to same sex marriage/partnership is still absent from any legal‐political agenda; and so on. Some politicians and academics argue that any attempt to transplant a Euro‐American individual‐centric perspective of gender/sexual equality/justice will violate the Han‐Chinese culture of harmony. In the paper, I will adopt a critical perspective in examining the above argument and examine why harmony politics becomes a meta‐narrative in Han‐Chinese socio‐legal culture and how human nature/subjectivity is re‐constituted in such a context. I will further argue that a culture should always be meticulously and critically represented and investigated in order to reproduce ‘gender/sexual justice’. I will also investigate the possibility of scrutinizing and exploring the spaces of resistance within the Han‐Chinese socio‐legal culture in Hong Kong, where foreign theory of gender/sexual justice/equality and related legal reforms can be engaged to politicize current discrimination and suppression.  相似文献   

17.
Abstract

This paper examines the construction of working‐class Mat Motor (Malay biker) masculinity and queer desire in/through KL Menjerit, a commercial biker film that exudes the unmistakably aura of working‐class kejantanan (masculinity). Specifically, I focus on how the film – or more precisely the ‘queer moments’ it contains – resonates in ways that are not necessarily obvious to the disinterested heterosexual public eye. The discussion takes into account both filmic elements and the sexual geography of Kuala Lumpur (KL), where shifting biker spaces sometimes intersect with homosexual cruising sites. My argument is that the film’s representation of the Mat Motor protagonist as unbendingly straight and heterosexually jantan – while imaginably gratifying to the core audience of Mat Motors – actually belies the opposite reality of KL’s ‘forgotten’ underside, where gender and sexuality are much more fluid and malleable than is sanctioned by society and the state.  相似文献   

18.
Abstract

In about half a decade since May 1998, changes have taken place in the content, production, distribution, exhibition, and discourse of Indonesian cinema. During Reformasi (1999–2001), the rules and regulations of cinema authorized under the New Order government of President Suharto began to be contested and re‐negotiated. The rise of new film genres and changes in concepts about existing genres and formats took place, new discourses emerged, and different communities and institutions arose that identified themselves with certain film genres or which used the medium of film for particular means, such as a medium for advocacy of human rights issues. Five to six years after 1998, it is apparent that besides changes, there are also many continuities: many old film institutions and structures for film production, distribution, and exhibition are still in place, and topics of discourses often recall past discourses of the New Order period or those held in the newly independent 1950s. This paper considers some of the changes in the understanding of genres and formulas within horror films, and discusses modes of representation and constraints in choices of subject matter in narrative practices in contemporary Indonesian cinema.  相似文献   

19.
This essay attempts to map out the global networking of counter‐feit production and consumption by considering the historical and economic complications of fake superlogograms in Taiwan, Hong Kong and Mainland China as a point of departure. It traces not only the ‘capital logic’ of the counter‐feiting industry, which duplicates the international division of labour, but also its ‘cultural logic’, which creates the Euro‐American superlogograms under the spell of Western imperialist ideology. The essay is divided into three main parts to foreground the ‘glocal’ circulation of fake superlogos. The first part considers the famous French Louis Vuitton as a case study to explore the economic, historic and cultural formation of the logomania in East Asia piloted by Japan in the 1980s. The second part discusses the double cultural reproduction of fake logos in Taiwan as both an imitation of Japan and an imitation of Japanese imitation of Europe. The third part seeks to theorize the fake under the context of Asian consumption of the superlogo and to foreground further the historical change of how the ‘fake’ becomes ubiquitous, how the ‘fake’ could be produced out of no originals, and how the ‘fake’ turns out to be perfectly indistinguishable and doubly authentic, which could rewrite the whole theory of mimesis. A new theorization of ‘fake dissemination’ is attempted in this essay to map out the co‐dependent ongoing (de)construction between ‘fake globalization’ and ‘globalization.’ What we mean by ‘fake’ here is no longer the mere difference between real/fake; the ‘fake’ in ‘fake globalization’ means ‘counter‐feiting’ as well as ‘appropriating’. (In Chinese, ‘Jia’ means both ‘fake’ and ‘by a particular means’.) That is, counter‐feit products appropriate the power of globalization to disseminate themselves. ‘Fake globalization’ is the ‘dark flow’ within globalization; it counter‐feits and appropriates globalization, repetitively reduplicating and deconstructing it. ‘Fake globalization’ and ‘globalization’ are not a pair in binary opposition. ‘Fake globalization’ is the ‘subversion’ of global capitalism; it is subject to global superlogo fashion consciousness and simultaneously resistant to the manipulation of ‘glogocentrism’. This subversive fake globalization is different from the traditional anti‐globalization movement, which tends to highlight the protection of international worker's rights, anti‐monopoly and anti‐sweatshops, for the latter focuses chiefly on the ‘oppositional’ stance while the former stresses more the ‘reverse’ side of it. Fake globalization helps to turn globalization itself inside out and outside in. Fake globalization is not an external attack on globalization from without, but an internal exposure of how the historical and psychic formulations of the logics of global capitalism are subject to the cultural imagination under (western) imperialist ideology, and how they are influenced by the political‐economic deployment of international divisions of labour. What fake dissemination does is to expose from within the possibility and impossibility of ‘glogocentrism.’  相似文献   

20.
ABSTRACT

Korean Modern Art History began to be produced in the 1970s, when Western Modernist Art History, based on Formalism, was introduced as a matrix to map the ‘evolution’ of 20th century Korean Art. Korean modern art history is based in the same paradigm as the West, beginning with Impressionism and ‘ending’ with Abstract Expressionism. First introduced to the country from the West immediately after the Korean War, Korean Abstract Expressionism is now deemed as South Korea’s ultimate ‘progressive’ and ‘modern’ art form, a ‘Korean’ painting style combining the Western art form with traditional artistic concepts of ‘Scholarly Painting’ (muninhwa). Japanese‐influenced painting styles originating in the colonial period (1910–45) are rejected as ‘non‐authentic.’ The problem is that Scholarly Painting was a gender and class specific art born from the rigid Confucian culture of pre‐modern Korea, and thus its revival as an ‘ultimate modern’ and ‘Korean’ form has the consequence of locating traditionally‐gendered notions of art and artist at the core of the South’s modern art. This essay uses a Semiotic approach to deconstruct this gendered modernist rhetoric by tracing the emergence of the sign ‘Koreaness’ in South Korean modern art, showing how it is defined within Korean Abstract Painting as an ‘ultimate Korean sign’ and how its use of anti‐Japanese rhetoric covers up the traumatic history of the Korean War.  相似文献   

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