The emerging (national) popular music culture in China

ABSTRACT

Before the emergence of the modern sense of popular music in China, the uses of music in that country have been instrumental in serving political purposes for the state. The modern form of popular music began to enter China through Hong Kong and Taiwan – the two very political locales in which we could observe China’s political economy through the reception of their music in mainland China. How the Chinese authorities coped with the production, distribution and consumption of this ‘foreign’ popular music, is reflective of the swing of the pendulum between relaxation and control, and hence the changing ideologies of the state. Based on the cultural and institutional analysis on a few classical Chinese popular singers since the mid‐1980s, this paper illustrates such a transformation. The paper argues that the Chinese authorities have evolved from a dictatorial authority, which chose to control popular music by means of direct bans and censorship, to an active agent, through various strategies, managing and producing a kind of popular music that can be conducive to, and be resonant with, the national ideologies.     

Popular Politicians: The Interaction Between Politics and Popular Culture in the Netherlands, 1950s–1980s

ABSTRACT

From the late 1950s onwards, the Netherlands witnessed a transformation of the emotional codes of politics. A culture of political leadership marked by notions of duty and restraint, made way for self-expression and authenticity. This article argues that the interaction between the spheres of politics and popular culture played a vital role in this transformation. The practices and discourses of popular culture became a significant part of the repertoire through which politicians articulated representative claims. The article traces how politicians negotiated their interaction with popular culture, started to cultivate a private persona and eventually turned into political celebrities.     

The undulating contours of sōgō geijutsu (total work of art), or Hanada Kiyoteru's thoughts on transmedia in postwar Japan

This article provides an insight into the theorization of sōgō geijutsu or the work of total art during the postwar decades in Japan, primarily through the language of Hanada Kiyoteru, a notable communist critic during the 1950s, as a way to present a discursive precursor to what would be explored as intermedia in the 1960s. It is an attempt to trace the debates that were seen in journal Sōgō Bunka, which was established immediately after the war, and how the question of collectivity and collective production of art was discussed among the contributing critics, artists, and intellectuals. Totality as some may know already, is a problematic term that comes close to the wartime notion of ‘totality’, as it was employed for Japanese government's ideological deployment for its war efforts. Although the term has accrued a sinister ring, the critics mentioned in the article, especially Hanada, were determined to reclaim the term as a way of devising a postwar aesthetic-political platform. One important component of sōgō geijutsu was popular art and its relationship to the masses, as it was designed to relocate avant-garde art practices to the juncture of popular space and political praxis, while critiquing the modernist avant-garde art associated with high art. In addition to providing a fuller historiography of intermedia (or transmedia) in Japan, interrogating sōgō geijutsu also serves to shed some light on the complex and multivalent discourse of locating a ‘people’ and their communicative action. Through this history, the term totality gains a greater texture, no longer dismissible as a mere vestige of fascism in the minds of the Japanese artists and critics.     

The Affair of the Plan De L'Olivier

ABSTRACT

In France, the Revolution of 1848 reshaped politics as it drew heretofore excluded groups into politics. In Montpellier, these changes provoked contests over the place of new citizens in the body politic and urban space. In August 1848 tensions reached their zenith as royalist residents of a lower-class neighbourhood clashed with the forces of order. Moreover, they defended their neighbourhood from intrusions on the part of their political opponents. Not only did these struggles concern the issue of command over space, but they also showed that the purportedly uncouth men intended to take part in the formulation of politics too.     

‘Bloomers’ and the British World: Dress Reform in Transatlantic and Antipodean Print Culture, 1851–1950

The ‘bloomers’ are rarely considered beyond their 1851 origins in the United States and subsequent appearance in Britain. This article expands dress reform scholarship by analysing print culture elsewhere in the British world, specifically Australia and New Zealand. The colonial press manufactured controversy over this fashion – a perceived transgression of gender norms – even though antipodean women rarely sported the outfit. This article focuses on the dress reform lectures and writings of Amelia Bloomer, Caroline Dexter and Dr Mary Walker. While certain continuities resurfaced alongside the bloomer-like rational dress popularised in the bicycling culture of the 1890s, dress reform was largely deemed far less controversial by the turn of the twentieth century.     

The Print Cultures of the Celtic Languages, 1700–1900

ABSTRACT

While the cultural trajectories of the Celtic language communities have some broad similarities in the long term, their histories in the medium term were quite different. The article approaches this issue through a comparative analysis of the print cultures of Welsh, Scottish Gaelic, Breton and Irish in the eighteenth and nineteenth centuries. The approach is both quantitative and qualitative, surveying total production in the four languages as well as looking at the presence and absence of different genres in the different languages. It also examines diaspora publishing in America and Australia. The different patterns are explained primarily in terms of the nature and extent of institutional church support for publishing in those languages.     

From Sawney Beane to Sweeney Todd

ABSTRACT

This article traces the changes and continuities in fictional stories of serial murder in London from the late-seventeenth century to the mid-nineteenth century. In particular, it shows how changes in the primary audience for metropolitan popular culture necessitated dramatic shifts in the tale of serial killing and narratives of violence. Thus, by the nineteenth century, as the lower classes had become the main supporters of both traditional and new genres of entertainment in popular culture, their experience of and fears and anxieties about urban change became intertwined with myths about serial killing and reflected in a new character of the public nightmare, Sweeney Todd, the barber of Fleet Street, who set out to effectively depopulate the capital with his ghastly murder machine.     

‘Now You See a Great Many Men Pushing their Pram Proudly’

ABSTRACT

The image of a man pushing a pram could provoke much controversy in mid-twentieth-century Britain. Many contemporary commentators argued men should be and were pushing their child in a pram with pride, yet others felt this compromised manliness. The article explores this image to analyse the relationship between fatherhood and masculinity, and between cultural norms and social practice in this period. It argues that this image was used to symbolize a new emotionally close relationship between father and child and suggests that a ‘family-orientated’ masculinity came to prominence in this period, partly instigated by certain popular cultural norms.     

Political aesthetics: activism,everyday life,and art’s object in 1960s’ Japan

Abstract

Around 1960, revolutionary forms of activism and critique emerged to challenge administrative forms of politics and daily life. In Japan, despite massive strikes and widespread protest, the ruling party used a Diet majority and riot police to renew the USA–Japan Security Treaty. After this display of force, this party’s new administration sought a new legitimacy, and a means to assuage and co‐opt the defeated opposition, through promoting a depoliticized everyday world of high growth and consumption, and a dehistoricized national image in preparation for the 1964 Tokyo Olympics. Among those activists who emerged to contest this new cultural politics, a diverse group of young artists worked to repoliticize daily life through an interventionist art practice. Their practices arose out of a particular local, playful art practice, whose focus on the material debris and spaces of the economic expansion led to an engagement with the transformations of daily life. Focusing on the art practices connected with the yearly exhibition, the Yomiuri Indépendant, I examine the advent of a critical art examining the everyday world of Japan in the late 1950s and early 1960s, reflecting on its complex relation with an internationalized art world and domestic art scene, mass culture, and domestic protest movements. Examining the history of this art illuminates the state’s investments in a normative cultural order, and a particular configuration of the politics of culture in the early 1960s.     

A regional gateway: Japanese popular culture in Hong Kong, 1990–2005

Abstract

In popular culture, Hong Kong is probably the most “Japanese city” outside Japan. It is home to a wide variety of Japanese popular cultural products and a regional base to many of the Japanese music and television companies who expanded their operations in the city in the early 1990s. Hong Kong's emerging middle class, especially the younger generation, has enthusiastically accepted Japanese contemporary culture and lifestyle, making the city one of the biggest destinations for Japan's cultural exports. Based on fieldwork surveys and interviews, this paper looks at the organizational aspect of popular culture during the heydays of Japanese popular culture in Hong Kong in the 1990s and early 2000s. The investigation focuses on the marketing strategies and promotional efforts used by agents of Japanese popular culture in Hong Kong and the role of popular culture piracy in this process. Beyond analyzing the Japanese case, the paper introduces a new framework to examine the transnational expansion of popular cultures across markets in East and Southeast Asia, highlighting the role of companies and promoters in this process.     

The Issues of Culture and Politics in Redubbing Anglophone Films in Iran

ABSTRACT

Audiovisual translation is an extremely influential means of intercultural communication among close or distant cultures. Dubbing is historically the main mode of film translation in Iran and has been increasingly investigated. Redubbing, however, as a form of retranslation, is barely researched in Persian. The main focus of this study is to investigate how the cultural and political issues of the time may influence media retranslation. The findings revealed that the dubbed versions before and after the revolution have been influenced by the dominant culture and politics of the time, but the extent and the subjects of interventions differed.