Gender and everyday evasions: moving with Cantopop 1

Abstract

In this paper, gender negotiations in the production, musical forms, and consumption of Cantopop are taken as a cultural exemplar for a social and political imagination of ambivalence, which seems to be shaping popular life in Hong Kong. It has three focal points – musical forms and expressions of Cantopop (style, lyrics, iconography, affect), gender politics, and ‘everyday‐ness’ – which converge to mark a notable cultural logic performing an enlarging sense of ambivalence about a city that has seen a shift from high moments of economic prosperity to the current postcolonial uncertainties. In other words, Cantopop signals a shift in our sensibilities, a redrawing of our affective map of everyday life after an important historical and politico‐administrative shift. In a sense then, this paper explores Hong Kong's changing identity within the sight and sound of popular culture, by specifically tracing some of the ways in which gender politics is inscribed, coded, negotiated, performed, or simply flirtingly posed on the surface of popular culture.     

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 Big,Bad Wolf: Resisting Corporate Evil in “Damages” and State of Play

Popular culture requires readily identifiable villains. Subcultural groups often serve this role, creating controversies. Controversies based on religion are especially bitter. As a rule, religion in the movies is inoffensively sentimental, but The Da Vinci Code is both popular and provocative, treading on the dangerous ground of Jesus's mortality. An Inconvenient Truth, another unexpectedly popular recent movie, is not as amusing, but it concerns issues Jesus cared more about.     

Join the Club: Food Advertising, 1930s Children's Popular Culture,and Brand Socialization

Relying upon archival research, this article examines children's food advertising during the 1930s. More specifically, I highlight advertiser-created “clubs.” As a complement to 1930s radio and comic strip sponsorships, dozens of national food brands introduced “clubs” for children. Through a series of case studies, I argue that by creating these clubs, national food advertisers embedded themselves in children's popular culture with the outcome of brand socialization—not simply immediate sales. These clubs offered access to exclusive branded communities, encouraging children to be brand-conscious and brand-loyal consumers. Unlike toy advertisers, who did not enter children's popular culture until the television era, food advertisers sold products meant to be consumed daily; as such, brand loyalty was highly sought after.     

Witchcraft in the Early Modern Isle of Man

ABSTRACT

This article examines evidence relating to witchcraft beliefs and official attitudes to witchcraft in the Isle of Man during the seventeenth and eighteenth centuries. It is based mainly on court records, and above all those of the Manx ecclesiastical courts. It demonstrates that there was a rich popular culture relating to witchcraft on the island, with a number of individualistic features. It places Manx witchcraft beliefs in relation to two other phenomena that were central to the island's popular culture: fairy beliefs and the belief in the efficacy of the curse. It also demonstrates that the island's authorities maintained a relatively low-keyed approach to witchcraft (only two people are known to have been executed as witches in the island), treating it as a sign of popular ignorance and a regrettable source of neighbourly disputes rather than as a satanic heresy.     

‘Let the People Sing’: J.B. Priestley and the Significance of Music

Abstract

In a writing life that spanned the 1910 to 1970s, J.B. Priestley engaged with a variety of subjects, across various literary forms, ranging from politics, popular culture and Englishness through to theories of time. However it has rarely been noted that he also wrote passionately and knowledgeably about music, with the latter playing an important role in key novels, plays and nonfiction. Priestley also promoted chamber festivals, wrote the libretto for an opera ‘The Olympians’, and even occasionally performed himself. Priestley’s writings on music fitted into his concerns about the rise of an Americanized mass order, and his mistrust of commericalized musical forms was shared by other critics of the time. However, Priestley’s work is more significant than a binary high/low low cultural validation of classical music/dismissal of more popular musical forms. He was often critical of jazz and ragtime, but more positive about popular music that was produced in, reflected, and empowered the individual and community. Priestley’s writings on music marked a genuine attempt at understanding the role of music in culture, and contributed to his democratic critique of the mass society.     

Facilitating Intercultural Communication in Parent–Teacher Conferences: Lessons From Child Translators

In this article Abraham Lincoln is considered as an alternative to the usual type of patriot's hero. He reminds us of our great historical failings. He remains a figure of controversy, a national hero in only some corners of society. He is the heroic President who serves as the first compassionate defender of the downtrodden, and he is a hero in those subcultures as well. Lincoln's treatment in the movies is discussed, focusing particularly on the recent movie Lincoln. Lincoln is seen as a match for the usual movie hero. His famous immunity to casual treatment in popular culture is discussed as well.     

New Zealand as Middle Earth: Local and Global Popular Communication in a Small Nation

The shift of the research gaze from First World concerns and research questions to the different imperatives of a small nation such as New Zealand enables scrutiny of many conventional assumptions made about globalizing processes, children's evolving public spaces, and commodified culture. New Zealand provides an invaluable site to explore the processes creating the postmodern cultural experiences of globalized popular communication. Children in New Zealand respond as joyously as children in San Jose and Sheffield to the pleasures of global popular communication, but we argue that the global can only be tracked in the ways it emerges in a variety of local/ities. Researching the particular experiences of children in a small South Pacific nation also highlights the range of challenges faced by public intellectuals in a period of rapid global technical, economic, and cultural change.     

Free Trade and Print Culture: Political Communication in Early Nineteenth-Century England

This article highlights the potency of traditional popular print culture as a form of political communication for one of the pioneering campaigns of the nineteenth century: the free trade agitation of the 1840s. Contributing to recent debates about Victorian political communication, it challenges the view that the spread of literacy and print replaced a more traditional, inclusive, hybrid style of communication. The use and adaptation of broadside culture that blurred literacy, orality and visuality proved to be a more effective means of communicating free trade to popular audiences than ‘modern’ methods of political communication such as official newspapers or mass propaganda. Joseph Livesey, the most successful free trade populariser, was able to bridge the gap between free trade and Chartism, by drawing on elements of radical print culture, while seeking to shift them onto a more respectable trajectory. Livesey and cheap free trade print culture anticipated the shift from popular radicalism to popular liberalism in political culture and popular politics that occurred after 1850.     

Fear and Rumour in the People's Republic of China in the 1950s

ABSTRACT

The article explores the nature of popular fears during the early years of the People's Republic of China by examining two types of rumour: those of a ‘secular’ type that told of China's defeat in the Korean War, a third world war or an imminent nuclear attack; and those of a ‘supernatural’ type that told of demons out to snatch vital organs or the end of the world. These rumours testified both to the resilience of ancient cosmological beliefs and values and to their capacity to fuse with elements of ‘modern’ politics. The article asks what they tell us about the relationship of the party-state to the populace.     

Mother Courage and Her Soaps: Incendies,Weeds, Nurse Jackie,and Daytime Drama

The decline of the soap opera as a major form of popular culture highlights the importance of that form in creating and maintaining a shared subculture for women. Soap operas are contrasted with recent television and film works that present the struggles of women in a different way, highlighting the distinctive features of soap operas as women's subcultural forms.     

‘Dad's Back’: Mapping Masculinities,Moralities and the Law in the Novels of Margery Allingham

Crime fiction was, in its ‘Golden Age’ form, a new product of the interwar middlebrow. It was a particular and very popular way in which conservative-modern problematics about the domestic and about human emotional relationships but also about criminality and the law were talked through. This article examines the novels of Margery Allingham as an exemplar of this genre with reference to her own professional and gender identity as well as the broader cultural context. Crime fiction was one of several kinds of crime (particularly murder) stories, both fictional and ‘real life’, which circulated between the official discourses of the law and middle-class culture. This discussion explores Allingham's treatment of masculinities and of sexuality. It argues that narrative techniques that used the Gothic problematized the interrelationships of morality, modernity and history, and also inflected the pleasures of leisure reading with wider ‘middlebrow’ concerns about the gendered status of the modern citizen and more diffuse cultures of punishment and social responsibility.     

Images of Animated Others: The Orientalization of Disney's Cartoon Heroines From The Little Mermaid to The Hunchback of Notre Dame

Because of the success of the first six animated feature films produced in the "new era" of Disney animation (The Little Mermaid, 1989; Beauty and the Beast, 1991; Aladdin, 1993; The Lion King, 1994; Pocahontas, 1995; The Hunchback of Notre Dame, 1996) and their mass merchandising, Disney animated characters became ubiquitous for children of the 1990s. Although Bell, Haas, and Sells (1995) suggested that Disney films present a "sanitization of violence, sexuality, and political struggle concomitant with an erasure or repression of difference" (p. 7), an increasing emphasis on sexuality and the exotic is evident in the construction of the female heroines in these films, particularly in the female characters of color. This article analyzes what may be referred to in Said's (1978) terminology as the orientalization of women of color in five of these six Disney animated films and posits how these representations of gender and cultural difference operate within Disney's consumerist framework, which provides "dreams and products through forms of popular culture in which kids are willing to materially and emotionally invest" (Giroux, 1999, p. 89). Using a critical lens, I interrogate the unity of images regarding gender and race that these Disney texts offer and the ways in which these meanings operate within the larger socio-historical framework regarding women of color and the notion of Whiteness.     

Journalism and Feminist Cultural Studies: Retrieving the Missing Citizen Lost in the Female Audience

This article explores the relations between journalism and feminist cultural studies to underscore the crucial importance of studying forms of popular knowledge that claim to foster citizenship among audiences. The article begins by examining the history of feminist cultural studies scholars' sustained interest in feminine genres of popular culture rather than journalism. Crossing over to the other side, I then outline some of the reasons for journalism's early resistance to cultural studies and trace new developments that suggest the growing acceptance of cultural studies within the institutional apparatus of journalism. As a case study, news magazines' representations of globalization illustrate the distinct ways in which journalism employs discourses of gender to produce hegemonic ideas of modernity, prosperity, and achievement for global reading publics. Finally, the article points to new directions for international audience research in the arena of globalization, gender, and journalism.     

The Gentrification of "Black" in Black Popular Communication in the New Millennium

This issue of Popular Communication features two particularly interesting pieces of scholarship whose salience should be noted in that the authors work expressly to extend our ideational boundaries regarding racial identity-in these two instances, the categories of Blackness and Whiteness. The authors share a common goal, though one taken with great care: to disrupt plebeian notions of what is thought to be essentialized Black cultural forms (e.g., hip-hop culture) by studying what they consider out-of-the-common practices of Blackness. Adopting the "different contexts" modality, one author locates the Black popular within Whiteness to reveal the elasticity of performative Blackness as well as evidence an accessibility to, and even mastery of, Black cultural participation by those outside of the African American race. The other author locates Blackness within "high culture" Black communicative practices and celebrates the fact that the presumed prole core of the Black popular can be elevated to a higher and, therefore, more worthy cultural plane. More, the author characterizes this ascent of Blackness as being especially noteworthy because it is facilitated by a figure believed to be marginalized within Black popular discourses-a member of the Black bourgeoisie.     

Editors' Introduction: Mapping the Field of Popular Communication

Reality TV has become a key site for experiments in "advertainment," or the merging of advertising and entertainment programming, and hence provides insight into current developments in commercial culture. Focusing on the genre's exchange value, this article examines Reality TV's commodification of various aspects of experience from privacy to diversity and, even more pragmatically, its development as a rich advertising vehicle for the digital era. Product placement, sponsorship and co-production are among the techniques examined. A discussion of Reality TV's core brand identity-a special viewing access-underscores its relation to voyeurism, pornography and, to spot advertising, all traditional techniques for attracting an audience. In many instances, the genre's high degree of commercialization signals the triumph of the market in one conspicuous area of popular communication.     

Daejanggeum as ‘affective mobilization’: lessons for (transnational) popular culture and civil society

Abstract

(Transnationalized) popular culture and (global) social movement are often seen as unrelated, if not mutually exclusive. Popular culture is entertaining, consensual but trivial; social movement is serious, idealized and oppositional. Yet the WTO Ministerial Conference, held in Hong Kong in December 2005, saw the Korean protesters' adoption of the theme‐song of a popular Korean television drama, Daejanggeum, as their protest strategy. The Korean protesters had been framed by mainstream Hong Kong media as ‘violent rioters’, but the inclusion of the drama elements helped the protesters advance their cause by gaining instant rapport with the local Hong Kong news media and public/fans (of Korean wave). The impact of celebrity involvement in the WTO was also about an immediate transferal of fan affect, from celebrities to the movement, and to the Korean protesters. This ‘affect mobilization’, becomes important as movement capital, as the effective manipulation of emotions is a key to ‘getting the message across’ as movement strategies. The case of WTO Hong Kong reveals the possibility of a symbiotic relationship between transnational popular culture and globalized social movements. The ‘use’ of (Korean) popular cultural products enriches and complicates the affect subjectivities within the social movement, and arranges fan affect into multiple layers of emotion hierarchies/spheres. It remains to be seen, however, if this would set a precedence to protesters in future WTO rounds as they are keen to mobilize their causes in different locales. More research is needed, too, to demonstrate if the success of the Korean wave fosters the emergence of a transnational Asian ‘public’ or civil society. Yet, for now, the success of Korean protesters in the mobilization of Hong Kong public's affect epitomizes the hegemonic flow, or soft power, of Korean TV dramas in the Asian popular.     

Measuring instructed language learners’ IC development: Discrepancies between assessment models by Byram and Bennett

Researchers and foreign language (FL) educators alike have investigated changes in learners’ intercultural competence (IC) in response to pedagogical interventions aimed at preparing learners for cross-cultural encounters. Byram's (1997) multimodal IC model and Bennett's (1993) developmental model of intercultural sensitivity (DMIS) are predominant IC assessment models in the field of FL education. This paper reports empirical evidence that reveals discrepancies between these two models drawing from the findings of a larger study that employed both theoretical lenses to investigate culture learning in a computer-mediated environment. Specifically, the study investigated changes in the way 13 U.S. French language learners talked about French people and culture in online classroom discussions in response to virtual instruction about French cultural practices at two levels: (1) at the individual level—with Byram's IC model in three case studies and (2) at the group level—with Bennett's DMIS. A post hoc comparison of the findings revealed assessment discrepancies between the models—empirical evidence revealing contradictions both between and within the models. These discrepancies are reported and the merits of each model within the research design are discussed. The aim of this paper is to empower readers with an understanding of IC research instruments and assessment tools commonly used to measure IC development in FL education and to inform methodological decisions of future research.     

Cocco's musical intervention in the US base problems: traversing a realm of everyday cultural sensibilities in Okinawa

This essay intervenes in the political contradiction between the pro-base and anti-base positions in Okinawa while at the same time seeking to provide an alternative to the binary at the level of everyday cultural sensibilities. I will accomplish this task by exploring the activities of charismatic Okinawan musician-artist-activist Cocco. More specifically, locating Cocco's music within – and also outside – a long, complicated genealogy of Okinawan popular music, I will trace how she has grounded the formal political problems of the US military in Okinawa's everyday dilemmas concerning money, memory, and globalization. In my view, Cocco has done so in a way that prods us to move beyond the pro-base/anti-base binary and to navigate an uncharted realm of culture, power, and history. I will also pay attention to how the audience in Okinawa and beyond, as a co-producer of Cocco's music community, has participated in this process. In so doing, I will show how Cocco's music has brought to light possibilities of transforming the existing political inequalities from below, possibilities that may be destined to disappear as soon as they are materialized as an explicit political program. I will articulate these possibilities with reference to what French writer-critic-philosopher Maurice Blanchot (1908–2003) once called the ‘unavowable community’.