FIGURES OF HOPE AND THE FILMIC IMAGINARY OF JIANGHU IN CONTEMPORARY HONG KONG CINEMA

Through an extensive allegorical reading of films, this paper attempts to capture a certain cultural form of imagination in Hong Kong during the transitional period leading up to the historical handover of power in 1997. Dwelling on the world of signification conjured up through what I call the jianghu filmic imaginary,the analysis focuses on the ideological and utopian impulses registered in relation to a whole emotional complex of anxiety, bewilderment and despair in the works of some highly creative local filmmakers of the genre: Ching Siu-Tong, Ann Hui, Tsui Hark and Wong KarWai. The study draws theoretically from Castoriadis's notion of the social imaginary and Bloch's aesthetics of hope, to focus on the textual and contextual re-constructions of a number of very unconventional martial arts swordplay (wuxia) films made in Hong Kong in the last two decades: namely, Tsui's Butterfly Murders (1979), Hui's Romance of Book and Sword (1987), Ching/Tsui's Swordsman II (1992), and Wong's Ashes of Time (1994). By identifying the ideological and affective moments in the filmic imaginary,I want to trace what has been left in a ruined culture for utopian longings, and point to the presence/absence of ‘hope’ as the cultural imagination for an unknown and unknowable future (beyond 1997). It is my contention that an understanding of that peculiar form of popular imaginary at the unusual juncture of Hong Kong's history can begin with a critical attempt to cope with this subtle practice of hope, so as to recognize (or reject) it as mediation in the process of our collective cultural crisis, anticipation and identification.     

Mediating affect in John Pilger’s Utopia: ‘the good life’ as a structure of whiteness

ABSTRACT

This article proposes that whiteness should be thought of as an affective structure, theorizing whiteness in terms of optimism, possessive subjectivity and multiculturalism. The article shows how the optimism of ‘the good life’ [Berlant, L., 2011. Cruel optimism. Durham, NC: Duke University Press] is linked structurally to whiteness in the construction of the Australian nation-state. In this context, Utopia [2013. Film. Directed by John Pilger. Australia: Antidote Films] specifically identifies whiteness as an affective structure. The article develops by unpacking this claim. First, I consider how the affective structure of the Australian nation-state is encountered through the mutual mediation of ‘media’ and ‘place’. I focus on the example of the film's journey to Rottnest Island – formerly an island prison, now the destination of holiday makers – to highlight how the optimism of arrival links whiteness to the present. Second, I develop an analysis of the affective surfaces of whiteness by analyzing the film's encounter with ‘White Man faciality’ [Deleuze, G. and Guattari, F., 1987. A thousand plateaus: capitalism and schizophrenia. Minneapolis: University of Minnesota Press] and Indigenous ‘slow death’ [Berlant, L., 2011. Cruel optimism. Durham, NC: Duke University Press]. Through producing a series of faces, Utopia portrays whiteness as a deflective surface that propagates the ‘onto-pathology’ of white Australia [Nicolacopoulos, T. and Vassilacopoulos, G., 2014. Indigenous sovereignty and the being of the occupier: manifesto for a white Australian philosophy of origins. Melbourne: Re.press]. Utopia also portrays whiteness as an absorptive surface in which Aboriginal self-possession – including, in the form of life – disappears. The film emphasizes the loss of Aboriginal life through illness and suicide linked to incarceration, overcrowding and state-induced impoverishment. The article concludes by locating media (including Utopia) within the tension between absorption and deflection as a tension between the different spatial actions of the affective relations that mediate whiteness.     

The regime’s worst nightmare: the mobilization of citizen democracy. A study of Podemos’ (aesthetic) populism and the production of affect in political discourse

In spite of not even being officially registered three months before the European Parliament Elections of 2014, the Spanish upstart party Podemos captured almost 8 percent of the vote, while barely nine months after its formation, in October 2014, social surveys were citing the party as the leading force in national politics. The overall purpose of this paper is to explore how Podemos’ aesthetic and its discursive strategies are being used to mobilize affect and create collective identities in the battle for political hegemony in Spain. I argue in dialogue with Laclau [2005. On populist reason. London: Verso], Errejón and Mouffe [2016. Podemos: in the name of the people. London: Lawrence & Wishart] that: (a) the articulation of a new political grammar and discursive conflicts in which the popular majority can identify themselves as subjects in opposition to an adversary ‘Other’ plays a central role in constructing ‘the people’ as a new form of political culture, especially in times of crisis whereby; (b) the notion of populism transgresses categories such as ‘oversimplification’ and/or ‘demagogy’ and can also be regarded in terms of exhibiting sensitivity to popular demands and participatory democracy. My findings show that welfare politics are not necessarily best communicated through traditional left-wing symbols, due to the left’s popular link with communism and political defeat; these having been repeatedly recounted by the media/culture industry throughout history. Indeed, many may share the idea of protecting a nation’s common social services without wanting to position themselves within a Marxist (leftist) framework. I point to the representative crisis as an affective crisis where there is a potential affective space to be filled. From here, I stress that resistance movements seem to need to learn the current media logic of conflict and recognition in order to mediate affect and produce identification.     

Letters from the future: an exercise with child welfare predictions

Abstract

The article presents an empirical exercise about predictions in child welfare. In the exercise, social workers imagined letters which they could receive from a child and his/her parents in five years’ time. The children had been in care for one year at the moment of letter-writing. When the social workers wrote the imaginary letters, they used their professional imagination, based on practice knowledge and experience, and were involved in a role-play. The analysis of the letters (34 from ‘children’ and 33 letters from ‘parents’) demonstrates four themes shared by the letters: ordinary life, family contacts and return home, social problems as shadows and assessment of the placement. Two narratives were performed: the narrative of future of ordinary life and that of the troubles. It is suggested that imaginary letters are helpful in highlighting practitioners’ sense of the future, professional imagination as well as the empowering and critical points in practice.     

Engaging with Listening,Silence and Noise: Peering‐into the Analytical/Continental Divide

In this paper I offer, by way of a circuitous route, a journey examining ‘how we know we know’. This examination is significant as it again rehearses the division between ‘Analytical’ and ‘Continental’ knowing. A division in valuing knowing that, when tested in the circumstances of a performance of John Cage's ‘4 minutes and 33 seconds’ and an engagement with Diego Velázquez's painting Las Meninas, exposes the role of the audience in their engagement with any object or event.     

Imagination laboratory: making sense of bio‐objects in contemporary genetic art

Public engagement in biotechnology has declined as cloning, genetic engineering and regenerative medicine have become socially and culturally normalized. Zooming in on existing bio‐technological debates, this article turns to contemporary genetic art as sites for ethical reflections. Art can be viewed as an ‘imagination laboratory’, a space through which un‐framing and rupturing of contemporary rationalities are facilitated, and, in addition, enabling sense‐making and offering fantastic connections otherwise not articulated. In this article, the framework of ‘bio‐objectification’ is enriched with Bennett's (2001) notion of enchantment and the importance of wonder and openness to the unusual, in order to highlight alternative matters of concern than articulated through conventional politico‐moral discourse. Drawing on a cultural sociological analysis of Eduardo Kac's Edunia, Lucy Glendinning's Feather Child, Patricia Piccinini's Still Life with Stem Cells and Heather Dewey‐Hagborg's Stranger Visions, we discuss how the intermingling of art, science, critics, art historians, science fiction, internet, and physical space, produce a variety of attachments that this article will unpack. The article demonstrates that while some modern boundaries and rationalities are highlighted and challenged through the ‘imagination laboratory’ of the art process, others are left untouched.     

KI: The ‘Fervor of Vitality’ and the Subjective Self

Curiously, in the word ki, we find that the Japanese have internalized physical energy into a felt-feeling (e.g., a sense of vital potency and aliveness), thereby significantly expanding the substance of the T phase of the self. Of conceptual interest here is that in the word ki—used as a root word to indicate and connect elementary feelings and thought processes—the Japanese have reified ‘energy’ into a subjective entity that moves the individual to become both activator and respondent of interactional processes. The general awareness of ki by the people themselves is evidenced in various facets of their personal consensual life—from socialization practices to formal presentation. In closing, the author attempts to link ki to Mead's ‘impulse’ concludes that (a) ki is more substantive and active than ‘impulse’ in the movement of the social act; and (b) in contrast to that of Mead, the Japanese model provides an explicit conceptual demonstration of the substantive role of the ‘I’ as well as affective elements in social interaction.     

Unknown outcomes,no guarantees: Lawrence Grossberg and experimentation

This article explores notions of experimentation embedded in Lawrence Grossberg’s writings. It begins by proposing that experimentation is a particularly relevant expression of the stakes of Grossberg’s research, and also one that embodies the ‘unknownness’ characteristic of rigorous intellectual work more broadly. By embracing unknownness in its contextual specificity (the shorthand for which is the phrase ‘without guarantees’), one seeks to open the present to a range of potential futures – a process requiring interdisciplinary collaboration and institutional risk-taking. This article then moves on to consider how Grossberg’s work brings to light the relationship between popular imagination and experimentation; that is, he understands the popular as a territory where people can be won for experimentation in paradoxically unknown but knowable futures. Finally, the piece heeds Grossberg’s warning against the fetishization of experimentation in certain political and theoretical formations, notably his repeated cautions against experimentation divorced from the specificity and requirements of the conjuncture. The article concludes by calling for a rigorous mapping of the terrain of Cultural Studies in order to foster and sustain the interdisciplinary, well-grounded experimentation to which its future must be bound.     

Young people’s perceptions of power and influence as a basis for understanding contemporary citizenship

Persistent simplistic binary discourses of young people’s citizenship portray them either as civically deficit and disengaged citizens or the creators of new democratic modes and approaches. This paper draws on field research with two groups of young people in Australia to better recognise the nuance of young people’s experiences of citizenship, power and influence. The study investigated the extent to which different groups of young people believe that they have the power to influence society; the ways in which they seek this influence; the current barriers to their influence; and what would enable them to have greater influence. Our analysis in this paper draws on Lukes’ concepts of power [2005. Power: A Radical View. 2nd ed. London: Palgrave Macmillan] and Arvanitakis’ framework of citizenship engagement and empowerment [in Arvanitakis, J., and E. Sidoti. 2011. “The Politics of Change: Where to for Young People and Politics.” In Their Own Hands: Can Young People Change Australia?, edited by L. Walsh and R. Black, 11–20. Melbourne: ACER Press], but also builds on an emerging scholarship concerned with the geographic dimensions of young people’s citizenship engagement and action, as well as with the affective, relational and temporal dimensions of this engagement and action. Our findings suggest that power works in different ways to both constrain and liberate young people as citizens – sometimes at the same time. The paper concludes with an argument for the continuing need to understand young people’s lived and located experiences of engagement, power and influence in more nuanced and sophisticated ways. This includes reframing the discussion about young people’s experiences in terms of the nature of their democratic engagement and action rather than simply their citizenship.     

Governmentality of adulthood: a critical discourse analysis of the 2014 Special Educational Needs and Disability Code of Practice

Produced and published by the coalition government, the publication of the 2014 Special Educational Needs and Disability Code of Practice: 0–25 years (2014 SENCoP) sets out to overhaul the management of special educational needs (SEN) provision across England and Wales. This paper employs a critical discourse analysis (CDA) of the 2014 SENCoP to reveal the ideologies and aims that this policy is built upon. Following a Foucauldian framework of governmentality, this article focuses upon the way in which ‘a successful transition to adulthood’ is constructed within the policy, particularly in relation to the wider Conservative narrative of a ‘Big Society.’ Developing this analysis, the article draws upon the current political landscape of a Conservative government and the shift towards the creation of a ‘shared society’ in attempt to locate ‘adulthood’ within its wider political, economic, and cultural context. This analysis reveals the neoliberal values underpinning the 2014 SENCoP, whereby educational support is reduced to the practice of shaping and sculpting the future generation of citizens. By deconstructing notions of employment, independence, participation, and health, this article reveals the 2014 SENCoP as a tool of government, written to the demands of the economy rather than the unique needs, aspirations, and ambitions of children and young people labelled with SEN.     

(Auto)Ethnography and cycling

This article discusses the formation, salience and reformation of everyday bodily routines and resources in relation to cycling; it also examines how we can study them ethnographically in different places. I discuss forms of embodied, sensuous and mobile ethnography that can illuminate how routines, habits and affective capacities of cycling are cultivated and performed. The article argues that autoethnography is particularly apt at illuminating the embodied qualities of movement, and it sits within established ethnographies of ‘excising’ and ‘mobile bodies’. In the second part of the article, I draw upon ongoing autoethnographies of cycling in a familiar place (my hometown, Copenhagen) and by learning to cycle ‘out-of-place’ (in London) and ‘in-a-new–way’ (when commuting long distance on a racer bike). The study challenges static notions of the body by analysing how cyclists’ (and researchers’) affective capacities develop as they practice cycling.     

Young people and the gendered and aesthetic dimensions of ‘enterprise’: stories from a ‘Rust Belt’ city

ABSTRACT

In the ‘Rust Belt’ city of Geelong in Victoria, Australia, discourses of young people’s enterprise and innovation provide a counter-narrative to the prevailing material and symbolic consequences of industrial decline, job losses, and the growing insecurity of employment and income. GT Magazine is a weekly, large circulation magazine in Geelong with a significant focus on the activities and aspirations of enterprising young people. In this paper, we examine, by utilising techniques of content analysis and discourse analysis, the particular ways in which young people’s innovation and enterprise are framed and enacted in GT Magazine. Our analysis reveals that ‘youth’ and ‘enterprise’ are, in GT Magazine, given an embodied form that is powerfully marked by aestheticised, normalised enactments of gender, class and race. In doing this work, we make productive contributions to three key themes in contemporary youth studies: new work orders and the youthful self as enterprise; the gendered and aesthetic dimensions of affective labour in these new work orders; and the emerging spatial turn to examine young people's embodied, place-based experiences of employment and enterprise. We seek to make problematic the sense that solutions to multiple disruptions and crises in capitalism and the environment are to be found in young people’s enterprise. Particularly when that enterprise is given form in ways that are aestheticised, gendered, classed, individualised and responsibilised.     

‘Class’, ‘Race’ and Language: imagining China and the discourse on the category ‘Han’ in the writing of Marxist revolutionary Qu Qiubai (1899–1935)

This study investigates the discursive peregrinations of the ‘Han’ category in the writings of the Chinese revolutionary, theoretician and activist Qu Qiubai. In the papers he wrote at the beginning of the 1930s dealing with the questions of language and writing, the author made singular use of the concept ‘Han’ to talk about the language/writing of the ‘Han’ (Hanzi, Hanyu) as a racial or ethnic group (Hanzu). Qu elaborated a discourse which articulated and mobilized, sometimes in a contradictory manner, the ‘Han’ category both as a ‘race’ and as a social class. Going beyond the race/class dialectic, I will try to show that these texts question the territorial, cultural and ethnic boundaries of ‘China’ and its homogeneity. Following this argument, this paper demonstrates how Qu's attempt to define ‘Chinese language(s)’ helps us to elucidate the complex articulation between China as a discursive and spatial category, the ‘Han’ category, and the other nationalities in the Chinese space. By questioning the homogeneity of the linguistic identity of China, using the word zhongguohua, Qu Qiubai unveiled an unstable and fragile imaginary relative to China and its so-called majority ethnic group, the Han.     

Expanding black subjectivities in Toni Morrison’s Song of Solomon and Chimamanda Ngozi Adichie’s Americanah

Deploying the call-and-response mode as the artistic premise of her fiction, foremost African-American author, Toni Morrison, has persistently called in her criticism for a participatory, intellectual and political, engagement with her position on and concerns around blackness. Morrison’s ideas are being critiqued and expanded to reflect contemporary ‘African’ attitudes and perspectives within the contemporary Afrodiasporic writing of critically acclaimed emergent author, Chimamanda Ngozi Adichie. In particular, Adichie has, in conversation and in her most recent fiction, suggested that Africans (in the diaspora) articulate themselves differently from African-Americans. Problematized and politicized thus as contested, rather than universally accepted, subjective terrain, blackness more significantly points to the diversity and dynamism of black culture and testifies, in the current socio-political/-historical moment, to recognition of the enduring complexity of black subjectivity. In a close, comparative reading of Morrison’s celebrated novel, Song of Solomon (1977), and Adichie’s popular text, Americanah (2013) – both recipients of the National Book Critics Circle award, this essay offers a fresh, specifically transatlantic and transnational, analysis of Morrison’s African-American views on blackness through the contemporary, Afrodiasporic lens of Adichie. Guided by the dialogic call-and-response mode, and underpinned by cultural, race and diaspora theory, the essay suggests and explores the ways in which Americanah speaks (back) to Morrison’s Song of Solomon, interrogating ontologies of race, particularly blackness, through an ‘Africanness’ that takes cognizance of culturally specific and context-responsive, globalized configurations of female subjectivity in particular. In this way, this essay seeks to expand understandings of, and discussions around, black issues and black life in order not just to resituate the relevance of black cultural ontologies but, through comparative engagement with the ‘politics’ of blackness, to revive in the political consciousness and imagination their crucial significance.     

Being and Landscape: An Ontological Inquiry into a Japanese Rural Community

This essay aims to reflect on the idea of landscape and our relationship with it by taking the Japanese notion of furusato (native place) in its ontological dimension. Grounded in Heidegger’s ‘phenomenology of Being’ and ‘ontology’, a phenomenological understanding of fieldwork experience in a Japanese rural community will be developed in order to rethink both the furusato and the ‘Being-landscape’ relation. As a consequence, we will be concerned not with how people speak about landscape, but with how the landscape speaks through people. What will be brought to light are the landscape’s moral and relational dimensions: namely, (i) the responsibility towards both our communities and future generations and (ii) a more-than-physical understanding of landscape that alerts us to our belonging to a common world comprised of relationships and tasks.     

KUNG FU: NEGOTIATING NATIONALISM AND MODERNITY

‘Kung fu’, as a cultural imaginary consecrated in Hong Kong cinema since the 1970s, was constituted in a flux of nationalism. This paper argues that the kung fu imaginary found in Hong Kong kung fu cinema is imbued with an underlying self-dismantling operation that denies its own effectiveness in modern life, and betrays an ‘originary’ moment of heterogeneity, an origin of itself as already ‘impurely Chinese’. Having been British-colonized, westernized, capitalist-polluted and culturally hybrid, Hong Kong's relation with ‘Chineseness’ is at best an ambivalent one. This ambivalence embodies a critical significance of Hong Kong as a defusing hybrid other within a dominant centralizing Chinese ideology, which is itself showing signs of falling apart through complex changes imposed by global capital. Hong Kong's kung fu imaginary, which operates in a self-negating mode, is instructive when read as a tactic of intervention at the historical turn from colonial modernity to the city's reluctant return to the fatherland. The kung fu imaginary enacts a continuous unveiling of its own incoherence, and registers Hong Kong's anxious process of self-invention. If Hong Kong's colonial history makes the city a troublesome supplement, then the ‘Hong Kong cultural imaginary’ will always be latently subversive, taking to task delusive forms of ‘unitary national imagination’.     

Won't somebody please think of the children? Or,South Park fanfic and the political realm

Comedy Central’s South Park has proved a bone of contention for traditional guardians of youth culture. From the denunciations of pressure groups on one hand, to academics attempting to claim South Park for various political positions on the other, it is ironic that a show addressing the failure of official pedagogy has had so little attention paid to its young fans. Academics argue over the ‘message’ of South Park, in a socio-political sense, or denounce it for irresponsibly embracing post-political cynicism. Yet as Mendes et al. have argued, to draw a false division between youth entertainment and some pre-conceived notion of the political realm is a fallacy: young people’s engagement with and meaning-making practices derived from popular culture are political in themselves. This paper uses a politically informed conception of discourse analysis developed from Laclau and Mouffe to code the top-rated South Park fanfics from Fanfiction.net, a site whose primary demographic is teenagers, in pursuit of the messages young people perceive and make of the show. This project prefers concrete data over impressionistic views of ‘young people’, and attends to what teenage fans make of and do with the text, rather than imagining them as passive consumers absorbing inherent messages.     

Young people's orientations to the future: navigating the present and imagining the future

This article discusses the findings of the Imagine Sheppey project (2013–2014) which studied how young people are ‘oriented’ towards the future. The aim and approach of the project were to explore future imaginaries in a participatory, experimental, and performative way. Working with young people in a series of arts-based workshops, we intervened in different environments to alter the space as an experience of change – temporal, material, and symbolic. We documented this process visually and made use of the images produced as the basis for elicitation in focus groups with a wider group of young people. In this article we discuss young people's future orientations through the themes of reach, resources, shape, and value. In so doing, we reflect on the paths that our young respondents traced to connect their presents to what is next, what we call their modes of present–future navigation. We explore the qualities and characteristics of their stances within a wider reflection about how young people approach, imagine, and account for the future.     

THE PRIMACY OF THE POLITICAL AND THE TROPE OF THE ‘PEOPLE’ IN ERNESTO LACLAU'S ON POPULIST REASON

If the proliferation of new social movements thematized in Hegemony and Socialist Strategy was the key conjectural feature on the horizon of radical democratic politics in Euro-America in 1980s, the eruptions of the people in the streets and slums all over the world, and especially in the global south, is hauntingly present in the background of On Populist Reason. With the democratic imaginary now gone global, Laclau's positing of the people as the political subject par excellence and populism as the paradigmatic logic of the political acquires new pertinence. This double privileging is accompanied by a series of shifts in emphasis in the conceptual architecture of Laclau's theory of hegemony. Aside from the further radicalization two pivotal terms in Laclau's social ontology – heterogeneity and contingency – one can observe three other noticeable shifts in emphasis: First, on the plane of discursivity (or in the differential field of the meaningful) the articulatory practices are increasingly characterized in terms of their rhetoricity (i.e. the mode of braiding the rhetorical form with its function); and, furthermore, the tropological characterization of the articulatory practices progressively yields to an analysis of their performative emergence by way of ‘naming’. Second, there is a corresponding shift in the analytic interest from the discursive production of the nodal points (such as ‘free market’ or ‘law and order’) to the discursive production of empty signifiers (especially, of the ‘people’). Third, the conflictual social field is configured not only in terms of antagonisms but also in terms of dislocations.