Beyond the crisis: the “chaotic formula” of Hong Kong cinema

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.     

Renationalisation and resistance of Hong Kong cinema: Milkyway Image’s journey to Mainland China

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.     

Rethinking the coming home alternative: hybridization and coming out politics in Hong Kong’s anti‐homophobia parades

Abstract

In calling for the need to think about sexuality globally, scholars have given increasing attention to the historical specificities of local contexts. The return to the local, however, may not always be fruitful when the local and the global or the Western and the non‐Western are seen as binary opposites rather than permeable constructs. This paper examines the coming home/coming out controversy and calls into question the understanding of coming home as local resistance against global queering. It instead suggests the possibilities of cultural hybridity and blending of coming out and coming home. Using the First and the Second International Day Against Homophobia Hong Kong Parades as an example, this paper elucidates the complexity of cultural production in the interactions of the West and Non‐West, with attention on the effect of transnational mobility of political rhetoric and tactics.     

Confronting dictatorship,democratization, and post‐democratization – personal reflection on intellectual and social practices in the context of dictatorship,democratization and post‐democratization

Abstract

This essay tries to trace the life trajectory of an intellectual, in terms of his intellectual and social practices, who wants to live through modern Korean history via progressive activism. The trajectory can be divided into three different stages: the first comes with the military developmental dictatorship in 1961, ending in 1987. The next is during the democratic transition since the Democratic Uprising in June 1987, which put the Korean society onto the road of democratization. The last one should be the so‐called ‘post‐democratization’ period in which we now find ourselves. This is more a story than an analysis of the progressive intellectual movement in the form of the personal recollections. The story is, however, not just about an individual but it is a window giving a glimpse into the larger trajectory that many progressive intellectuals have gone through, and that directly reflects the huge changes in contemporary history of South Korea, such as the interaction between the domination and social movements.     

Feeling freedom: Japanese and American wartime films on the liberation of the Philippines, 1943–1945

ABSTRACT

This article juxtaposes the Japanese wartime film Dawn of Freedom and Hollywood films on the Philippines during WWII as a method to analyze the representational strategies by which the U.S. and Japanese empires tried, respectively and in opposition to the other, to nurture the feeling that the peoples of the Philippines and beyond would enjoy freedom under their stewardships. Under pressure from the twin crises of colonialism and capitalism, the two empires sought to establish hegemony in the Asia-Pacific by fashioning a new model of empire that disavowed imperialist intentions and territorial aggrandizement while promising freedoms that included but went beyond national self-determination. The article focuses on four overlapping freedoms that run through the Japanese and Hollywood films: namely, political self-determination/consumerist freedom, freedom of self-sacrifice or the freedom to die, freedom in romance, and freedom from racism. Despite their differences, the author argues that the two sides in the imperial film wars shared much more than what is commonly realized and that the new strategy that advanced and yet disavowed imperialist ambitions while promoting the feeling of freedom, has great relevance for understanding the militarized world today.     

Return of the Kyai: representations of horror,commerce, and censorship in post‐Suharto Indonesian film and television 1

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.     

Locality,ethnicity, national and transnational influences on Afro-Caribbean consumer experiences – The case of post-war Northampton

Abstract

This article examines various manifestations of Afro-Caribbeans’ consumer experiences in the English county of Northamptonshire c.1955–1989. Consumer experiences of Caribbeans were connected to, whilst being distinct from, fellow Caribbeans elsewhere in Britain. This article will focus on the consumer-related connections amongst Caribbeans, between Caribbeans and non-Caribbeans, as well as Caribbeans adjusting to, whilst transforming, overall local consumer markets. Understanding the role of location in the development of ethnic identity alongside the combination of integrating whilst not assimilating within a locality and country played out through Northamptonshire Caribbeans’ consumer experiences. Understanding these relationships supports the discernment of how broader conceptualizations of location combined with relative ethnic isolation helped to shape consumer experiences through simultaneous integration and specifically ethnically focussed zones.     

College Students’ Perspectives in Sexually Transmitted Infections (STIs) in Malaysia,Singapore, England,and the US: Formative Evaluation Insights and Implications

The purpose of this study was to elicit college students’ knowledge and perceptions about sexually transmitted infections (STIs), attitudes and practices regarding condom use, and information about what educational and prevention materials that they think would be most effective for their peers. As part of a larger study, data was collected using focus groups and questionnaires. While American and Malaysian college students in the US participated in the focus groups, the open-ended questionnaire was emailed to college students recruited in Malaysia, Singapore, and England. Participatory communication was used as the theoretical framework to generate information and message concepts necessary for the design of effective health education and promotion materials. This study revealed that college students, regardless of nationality, should be informed and educated of the STIs problem on a gradual basis through various means and communication channels.     

The ‘Isle of Vice’? Youth,class and the post-war holiday on the Isle of Man

This article broadens our knowledge of post-war holidaymaking (c. 1950–80) by adopting the Isle of Man as a case study. A popular holiday resort from the late nineteenth century, the Isle of Man experienced considerable political turbulence during the 1950s and 1960s about how best to stay competitive as a seaside resort, where authorities employed uniquely stringent methods to contain rowdiness and protect the island’s ‘respectable’ atmosphere. The first two sections examine the leisure habits of the young and working class in a holiday context, integrating this analysis with perceptions of their behaviour gleaned from oral interviews with local residents. The concluding section explores how the presence of holidaymakers on the Isle of Man – uniquely among seaside resorts in the British Isles – informed (and in some cases emboldened) a sense of national identity. Oral history, complemented by the Hansard reports of the Isle of Man parliament and local press coverage, sheds light on the activities of the post-war working class at play, and how the presence of holidaymakers fortified Manx national consciousness.     

To die a guest at home: on Oh my name,stand and walk on! A posthumous collection of the works of Nakaya Kōkichi

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.”     

‘Of lost fathers and broken sons’: Farish Noor on the politics of love and the new thought in Malaysia

Abstract

This paper addresses the polemical and intimate writings of one of Malaysia’s leading public intellectuals, Farish Noor. Straddling secularism and Islamism, Noor’s ideas are informed by a compassion that seeks to bypass monotheism and an ethnically informed nationalism. An advocate of a multiethnic and plural society, Noor does not merely reject Islamism; rather, his thinking seeks to reconcile and transcend what he perceives as a false dichotomy between a system of reason and a system of belief. The achievement of this transcendence is a fraught one for it sometimes seems that Noor involuntarily contradicts himself. To resolve this contradiction I turn to Gille Deleuze’s work, Pure Immanence, which, I argue, provides a key in‐road into understanding the complexivity of Noor’s thought, in particular his valorization of love and his canny and novel attempts to interpret what he calls an ‘other Malaysia.’     

‘Salk Hops’: Teen Health Activism and the Fight against Polio, 1955 – 1960

In the late 1950s, a health charity, known as the National Foundation for Infantile Paralysis (March of Dimes), organized American teens into volunteer divisions to fight polio, as well as tame adult anxieties surrounding juvenile delinquency. The alliance that developed permitted the NFIP to increase its influence and revenue, while granting teens an opportunity to assert their cultural power and challenge negative stereotypes. Although the NFIP nurtured and at times dominated the relationship, young volunteers joined for their own reasons and shaped the program to suit their own aspirations and interests.     

Okinawa's ‘postwar’: some observations on the formation of American military bases in the aftermath of terrestrial warfare1

Abstract

By looking at Muhammdiyah's educational programme and examining the discourse of its thinkers concerning modern conditions, this paper explores the ways in which this modernist Islamic movement deals with modernity. The different curricula that Muhammadiyah schools and colleges adopt reflect the tension of its efforts of reconciling religious requirements with those of modernity. The need to prepare students for life in modern times has led Muhammadiyah schools and universities to emphasize the teaching of modern general knowledge and skills, often at the expense of religious subjects. The difficulties of reconciling Islam and modern science, as well as making Islam remain a viable system of values in the midst of industrialization, however, has become a source of energy for Muhammadiyah thinkers to keep searching for new formulations. The fact that the public sphere seems to need an even greater dosage of infusion of Islamic values as Indonesia industrializes and modernizes itself does not discourage them. Their debate indicates a critical understanding of modernity and the challenges and opportunities it offers Muhammadiyah in 21st century Indonesia. Their disagreements show unresolved difficulties as to how modernism and Islam can be fused. They also show, however, a confidence that Islam can be a basis to think of ways of how to confront and shape modernity in Islamic terms.     

Cold War and the contested identity formation of Korean filmmakers: on Boxes of Death and Kim Ki-yo˘ng's USIS films

The definition of the Korean national cinema in the course of modern and contemporary history of South Korea has provoked controversy. This article examines the negotiations in the identity formation of Korean filmmakers examining specific objects from years of reconstruction following the Korean War. It pays attention to the time when state-building and nation-building became combined enduring heterogeneity of this process. Kim Ki-yo?ng's films depict such characters. His public information short films reflect the legacy of American war films. However, they also contain self-conscious moments when the director refuses to be identified as a mere successor of American documentary filmmakers. Kim's first commercial film, Boxes of Death (1955), an anti-communist thriller, shows great influence from Hollywood, but also with a strong auteurist impulse, theatrical tradition, and the Japanese colonial legacy. However, the most important aspect is the standing presence of America and the USIS-Korea in the identity of Kim Ki-yo?ng and his film. American agencies intervened in the work of Korean filmmakers in the interest of “Free World” bloc-building, and those filmmakers used such agencies to obtain resources. The heterogeneity in the process of the subject formation in Korean national cinema was one common characteristic of many filmmakers of the post-Korean War era.