2004： An Epitome of Chinese Film Over the 20th century

2004 was a special year for Chines emovies. In this year, various types of movies were produced and shown to welcome the 100th anniversary of China‘s movie industry which will come in 2005. These new productions provided us an opportunity to review and recall the history of Chinese movies in the past 100 years.     

To vent or not to vent? The impact of venting on psychological symptoms varies by levels of social support

The current study examined the interaction between venting (as a form of emotional coping) and perceived emotional social support in predicting internalising psychological symptoms (anxiety, depression and somatic symptoms) over time in international students. A short-term longitudinal survey design was employed with three months between two measurement points. Participants were 130 international students from a university in New Zealand. The questionnaire included questions on venting, perceived emotional social support and internalising symptoms. The longitudinal impacts of venting and its interaction with emotional support on internalising symptoms were evaluated using structural equation modelling. Perceived emotional social support significantly moderated the effect of venting on internalising symptoms over time. Specifically, venting was associated with decreased internalising symptoms when students reported low levels of perceived emotional social support. However, venting was associated with increased symptoms when they reported very high levels of perceived support. In the presence of moderate to high emotional support, venting was not associated with changes in internalising symptoms over time, indicating that venting has no significant psychological consequences for international students with moderate to high perceived support. Venting can be an adaptive coping response for those with low perceived support, but it can be harmful in the presence of very high perceived support.     

What it means to be “one of us”: Discourses of national identity in the United States

In recent years, the transnational movement of people has resulted in increasing tension and debates about national identity. The present research utilized a discourse analytic approach to examine accounts of national identity in the U.S. among native-born U.S. residents, Mexicans living in Mexico, and Mexicans living in the U.S. Our analysis focused on two sets of diverging accounts of national identity. A first set involved participants' explanations of national identity as natural/essential, “felt”, or conditional, which served to either constrain how “American” immigrants could be or allowed for a more inclusive definition of national identity. A second set of accounts involved participants theorizing the national polity as a multicultural or monocultural space which functioned to construct national boundaries as permeable or reinforced (White) American dominance. These patterns of talk emerged across all interviews, although U.S. participants attended to more flexible and dilemmatic (e.g. inclusionary and exclusionary) accounts of national identity. We discuss the implications for the complexity of national identity.     

The trajectory of the “Third World” in early modern Chinese thought

In this essay, I trace two aspects of the thought on the “Third World” in early modern China: how to understand the world revolution, and how to create a new China. While focusing on two trendy notions at that time, i.e. “Chinese revolution” (Zhongguo geming), and “nong country” (nongguo), I argue that the thought on the “Third World” in early modern China breaks free of the shackle of fashionable theories and draws upon local circumstances and China’s own repertoire of power when exploring an ideal of a new world. While the difficulty in confronting the “Third World” consciousness in today’s China is still overwhelming, the fact that we now remember “the spirit of Bandong” signals some progress.     

Translation of ‘America’ during the early Cold War period: a comparative study on the history of popular music in South Korea and Taiwan

Abstract

The evaluation of the cold war influences played by the US on the rest of the world should not only be accounted economically and politically, but also culturally. In this paper we see the US influences on South Korea and Taiwan from the value‐laden concept of Americanization and through which we examine comparatively specific practices of domestic popular music development in these two countries. Setting this paper as a historical comparative study, we see the working of Americanization in relation to popular music as a value regime in which American is constructed as an ideal model imaginatively and discursively, which was made possible by economic, social and cultural forces in South Korea and Taiwan. Focusing on the Cold War period, circa 1950s to 1960s, levels and aspects of Americanization were therefore ways of translation, to use Said’s concept of traveling theory analogically; Anglo‐American music genres traveled to these countries to be incorporated contextually as new or trendy conventions of music‐making, which in turn helped form local music genres. The socio‐historical contexts of South Korea and Taiwan, with respect to the presence of American army forces, and similar postwar anti‐communist political forces, in nation‐building (north–south Korea, red China–free China antagonism respectively) are central to our understanding of the visibility of Americanization in different music cultures in these two countries. This paper will go into each country’s historical trajectory of music practices that took Japanese colonial influences up to the postwar time and then blending with Anglo‐American genres in indigenizing that eventually marked their different paths, as we comparatively reveal their institutional, political and national cultural conditions, which were necessary in shaping each country’s music‐making conventions, entertainment business, and consumption cultures of popular music – and that might implicitly inform tentatively the present rivalry between ‘offensive’ Korean Wave and ‘defensive’ Taiwanese ‘rockers’ in the globalization era.     

What does “an open body” say: the body and the Cold War in the early 1980s theatre of Taiwan

ABSTRACT

The early 1980s marks a significant period for modern theatre in Taiwan. It is often heralded as the “renaissance of modern Chinese/Taiwan theatre” through the reinvention of Chinese theatrical traditions, such as the Peking opera. This paper examines the connotations and denotations of “the West,” which serves as an important reference or counterpart in theatre practice of the period. An “open body” on stage was highly appraised and requested for theatre practitioners during the time. By historicizing the West in tandem with the concept of the “open body,” this paper calls attention to the socio-historical and the geopolitical aspects of the Cold War in Taiwan’s “theatrical renaissance.” “An open body” was emphasized in the first year of “Experimental Theater Exhibition” in 1980. Wu Jing-jyi, who had experienced working and directing in one of the most famous Off-Off-Broadway theatres, LaMaMa E.T.C in New York, led a series of workshops and training courses in “Lan-ling Theater Workshop” and created a new performing method on the basis of what they coined as “an open body.” Lee Kuo-hsiu, Liu Ching-min, Chin Shih-chieh, Lee Tien-ju – most of whom were and still are the leading actors and actresses in Taiwan – among others were all trained and influenced by this method. The magnificent production of the play Hechu xinpei was an example that followed the “open body” performance method. In this paper I make two main arguments. First, without examining closely what an open body signified at the time, the discursive formation of the body in the 1980s theatre renaissance cannot be fully comprehended. Second, I propose that the modern Taiwanese body that is open is simultaneously imbricated in relation to geopolitics, knowledge of Area Studies, and modernity – categories that the United States invented, led and developed throughout the Western bloc in the Cold War.     

Introduction: the “vectors” of Chinese history

This issue contains essays by the important Japanese sinologist and intellectual historian, Mizoguchi Yūzō (1932–2010). Born in Nagoya, he studied in the literature department in Tokyo University and then went to graduate school in Nagoya University. He was a student of Iriya Yoshitaka, the famous sinologist. Mizoguchi has taught at Saitama University, Hitotsubashi University and Tokyo University. He was also a Distinguished Professor at Tokyo University. Mizoguchi Yūzō left a number of important works throughout his life. The selection is unable to provide a complete picture of Mizoguchi’s ideas about the principle of Chinese history, but it provides an entry point for English readers to understand Mizoguchi’s work. In this introduction, we attempt to bring out certain key ideas of Mizoguchi’s writings and discuss his historical and theoretical significance.     

Rethinking the Role of “Culture” in Educational Equity: From Cultural Competence to Equity Literacy

“Culture” has tended to play a central role in the nomenclature and operationalization of popular frameworks for attending to matters of diversity in education. These frameworks include multicultural education, culturally responsive pedagogy, culturally relevant teaching, cultural proficiency, and cultural competence. In this article, I argue that too tight a focus on “culture,” the meaning of which remains intensely contested, stunts the possibility of real progress toward educational justice. As I will show, although some culture-centric frameworks are grounded in commitments to educational equity, they often are implemented in ways that essentialize marginalized students and mask the forms of structural injustice that feed educational outcome disparities. I argue for a new commitment to centering equity rather than culture in conversations and practices related to educational justice—recommending the equity literacy framework as one way to enact that commitment.     

“Supporting excellence in the arts: from measurement to judgement”

The DCMS paper “Supporting excellence in the arts”, also known as the McMaster Review, raised more questions than it answered in terms of how UK cultural policy is likely to develop in the future. Although many of its intentions are laudable, the report fails to resolve the inherent problems associated with defining, measuring and judging cultural “excellence”, even though this forms the core of McMaster's argument about how policy should develop. This may have significant implications for cultural institutions in the future.

In addition, many of the report's recommendations may either be contradictory or impractical in the current policy climate – such as the desire for institutions to take more risks whilst simultaneously increasing visitor numbers and meeting other targets. As such, without a wider change in the Government's approach and a re-acknowledgement of culture's intrinsic value, “excellence” may just become the latest buzzword for practitioners, rather than the key principle upon which future decisions will be based.     

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.     

Christians and Muslims Faced with the Wrath of Abū Marwān al-Yuḥānisī, a Thirteenth-Century “Friend of God”

This article examines the nature of the wrath of Abū Marwān al-Yu[hdot]ānisī, a thirteenth-century Andalusi saint, and the protagonist of the Tu?fat al-mughtarib of al-Qashtālī. I have divided the study into two main parts. The first sets out and analyses various occasions on which the saint committed violent acts against Christians. Two of them died as a consequence of these aggressions. All the cases in this first part took place in the Muslim East during the saint's stay in this area. The second part examines cases of violence committed against Muslim people from al-Andalus. The victims suffered the consequences of the wrath of the saint, although he was not directly involved in the aggressions themselves. The stories are narrated by al-Yu[hdot]ānisī himself, and we do not know whether they really took place. Regarding these manifestations of violence, the hagiographic sources not only justify all the violent acts committed by the saint, murder included, but they present the saint to society as an “example” to follow, and indeed as a “hero”.     

“ʿAlā fūr Tuṭīla”: Jews and Muslims in the Administrative Culture of Post-Conquest Tudela,c.1118–1220

The early history of the Jewish and Muslim communities living under Christian rule in the Ebro Valleys tends to be overlooked in favour of the source-rich thirteenth and fourteenth centuries. However, the nature and organisation of these groups should not be taken as a constant, as they underwent a significant transformation over the course of the twelfth century. Through the case study of Tudela, this article proposes to re-examine the dynamics of administration and judicial practice that developed in the immediate aftermath of the Navarro-Aragonese conquest. This town has a rich corpus of charters that allows us to contrast the administrative layout enshrined in the franchise charters known as fueros with the legal practice reflected in some particular bilingual interlineated purchase-sale contracts. A comparison of both sets of documents emphasises the use of the fuero in inter-communal negotiation, both in framing encounters and in guaranteeing each group's autonomy, during a key period in the gestation of Jewish and Muslim administrative and judicial practices under Christian rule.

Abbreviations: DAr = Mercedes García-Arenal, “Documentos árabes de Tudela Y Tarazona”, Al-Qan?ara: Revista de Estudios Árabes 3 (1982): 27–72; FdN = Luis Javier Fortún Pérez de Ciriza, “Colección de ‘fueros menores’ de Navarra y otros privilegios locales (I)”, Príncipe de Viana 165 (1982): 273–348     

“Suited to Their Needs”: White Innocence as a Vestige of Segregation

Discourses that supported de jure segregated schools often invoked White innocence in the form of altruistic motivations. These same invocations are found in more contemporary school policy discourses. The authors of this article argue, based on the concept of intertextuality of discourse, the existence of contemporary schooling policies as vestiges of segregation.     

Scent of a history: the “12.3 Incident”: A history in Macao of 50 years ago

Fifty years ago, there were massive anti-colonial movements in Hong Kong and Macao. During the same period, the Cultural Revolution started in mainland China. The writings afterwards painted these movements, and these people, with the colour of the Cultural Revolution. Local is vanished. These movements constituted the starting point of modern Hong Kong and Macao. The aftershocks of these movements are still strong and widespread within the present political environment, the ideology of the public space and the sentiment of the public. It seems necessary to re-examine this history and to restore those people and those events from the distorted impression. Let’s try to read their oral history with sympathy and historical imagination, feeling the scent of a history.     

Sick bunnies and pocket dumps: “Not-selfies” and the genre of self-representation

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.     

Culture without “world”: Australian cultural policy in the age of stupid

In March 2013, after six years of consultation, an Australian Labor government launched the national cultural policy document, Creative Australia. In July 2013, a Coalition government was elected, Senator George Brandis became Minister for the Arts, and the policy was dumped. With it went cross-party consensus about funding rationales and measurement strategies, with disastrous consequences for the cultural sector. This cautionary tale of gaffes, pay-back and abrupt changes of direction, highlights the fragility of policy memory that condemns artists and arts managers to a never-ending reinvention of the evidentiary wheel. Our paper examines the problem of collective understanding (“world”) in cultural policy-making in Australia, exacerbated not only by the short-term electoral cycles which undermine long-term cultural outcome timescales, but by a fixation on what Hannah Arendt calls “the peculiar and ingenious replacement of common sense with strict logicality”. Evidence of value is only meaningful when it occurs in a policy memory that can fully avow it and respond in appropriate ways. Measurement methods are over-determined by epistemology and by experience. We argue that the balance between these determinants of effective cultural policy-making has been lost. An emphasis on numerical data – especially economic data – has forced arguments for culture into a decontextualised register of quantitative proof. Recent events in Australia suggest that different, more direct ways of engaging with cultural policy-making are required for the problem of collective understanding to be successfully assayed.