INTERFACING FEMINISM AND CULTURAL STUDIES IN HONG KONG: A CASE OF EVERYDAY LIFE POLITICS

Cultural studies, as a cultural and political re-articulation of common sense, knowledge and community practices, aims at opening up new cultural space for criticisms, reflections and action. Originating from the women' movement and later flourishing in the academy as well, feminism espouses similar aims to cultural studies. Both cultural studies and feminist/gender studies have a strong sense of intervening into everyday life politics. This paper is an attempt to discuss how feminism and cultural studies interface with each other, largely based on examples of gender-related everyday life politics taken from the feminist movement in Hong Kong. It will examine issues concerning the conflict of consumption and female subjectivities, the reconceptualization of home and housewives, and the representation of everyday life for women and history writing. It is argued that by blurring, negotiating or deconstructing the boundary or division between positions, identities and domains–such as subject and object, housewives and workers, private and public, personal and political, consumption and production–the re-articulation of knowledge about ‘victim’, ‘exploitation’, ‘home’ and ‘history’ in the feminist movement will not only provide the movement with new impetus and insight to reconsider its strategies in fighting for more cultural, social and economic space for women and other marginal groups at large in Hong Kong, but will also ‘metabolize’ the newly developed discipline of cultural studies in Hong Kong by providing a platform to strengthen the dynamic arm of cultural studies education and research. Based on her feminist and teaching experiences in Hong Kong, the author has highlighted activism and pedagogy as the two important dimensions of feminism and cultural studies in this paper.     

INSTITUTIONALIZING CULTURAL STUDIES IN AUSTRIA: A VIEW FROM AFAR

The article explores institutional settings for teaching and practicing cultural studies from the point of view of the author's personal experiences at universities in Austria, Canada and Hong Kong.     

WHAT MAKES THE LOCAL? A BRIEF CONSIDERATION OF THE REJUVENATION OF HONG KONG IDENTITY

This paper ascertains what makes the local and why the local is important, in the context of change in Hong Kong due to the political transition to PRC sovereignty.In doing so, I hope to pose a modest polemical challenge to cultural studies' tendency to overlook seemingly simplistic empirical information. The return of Hong Kong to China in 1997 has led to a contraction of the political sphere, as the convergence of political structures curbed the development of local identities. The label or category ‘Hong Kong people’ was then appropriated with a specific meaning for the local to resist encroachment of the national. It was true that the high intensity of dominant national discourses during the political transition created a favourable atmosphere for re-nationalization. However, as soon as the political transition was over, Hong Kongers re-adhered to their own label in their struggle for cultural autonomy.Their strong cultural affect toward various national icons during the transition quickly diminished. This multiyear discourse study (1996–1998), which utilizes social scientific methods in conjunction with cultural theories, illustrates important political and methodological impulses necessary for the formulation of a socio-political approach to cultural studies within the Hong Kong context.     

Looking beyond ‘buildings of chrome and glass’: Hong Kong’s ‘uncanny postcoloniality’ in photographs of Tin Shui Wai

Hong Kong has a unique postcolonial identity. After being colonised by Britain for over a century and a half, it was ceremoniously handed over to China in 1997, without necessitating any bloody wars or even skirmishes. Hong Kong has continued to enjoy a privileged status within China due to the doctrines enshrined in the ‘one country two systems’ policy. She has benefited from becoming part of a nation with the fastest growing economy in the world, and the people of Hong Kong have for the most part acquiesced to the reduction in levels of political freedom. However, recent events like the Umbrella Movement spearheaded mainly by student protesters has brought to the fore the cracks in Hong Kong’s postcolonial identity and the city finds itself once again precariously poised in a moment of transition.

Theorising a connection between Hong Kong’s postcolonial predicament and the city state’s physical landscape, I analyse Hong Kong photographer Derrick Chang’s photos of Tin Shui Wai, a remote new town located on Hong Kong’s northwestern edge. Tin Shui Wai is a failed new town – it was developed to house workers who would serve the industries that were projected to develop there in the 1990s. However, these labour-intensive industries never materialised due to the meteoric rise of Guangdong’s manufacturing industry. Instead Tin Shui Wai has now come to be known as the ‘city of sadness’, notorious for its gruesome murders, high rate of domestic abuse and tragic suicides. Through an analysis of Chang’s photographs of Tin Shui Wai depicting isolation, stagnation and urban detritus, this article argues that the uncanny, spectral spaces of encounter raise questions and provide an alternative and more disquieting narrative of Hong Kong’s postcolonial identity.     

CULTURAL STUDIES IN AUSTRIA

One of the two main lines of argumentation of this text turns around the idea of ‘intellectual practices’. This idea is used here to criticize the hegemony that both academic institutions and publishing industries have been exerting on representations of the idea of ‘the intellectual’. In ­addition, the idea of ‘intellectual practices’ is useful to make more visible the diversity of forms in which intellectual work informs current social practices, as well as to show that this work assumes forms not limited to writing practices. The other line of argumentation turns around the conceptual pair ‘culture and power’. This pair, explicitly or implicitly used by many intellectuals, allows the formerly mentioned reflection to be grounded in a relatively more limited universe of practices. Moreover, the reference to this pair highlights the importance of the particular set of practices that explicitly or implicitly relate to it. These practices may be characterized as simultaneously involving a cultural approach (focusing on socio-symbolic dimensions) of issues of power, and a political approach (focusing on relations of power) of the cultural (socio-symbolic) dimensions of social processes. Finally, this article also presents a critic of the idea of ‘Latin American cultural studies’, which fundamentally criticizes a de-contextualized and de-contextualizing application of certain representations of the idea of cultural studies in Latin America, as well as studies about Latin America from abroad. Such de-contextualization impoverishes the critical impulse of such an intellectual perspective, and at the same time diminishes the visibility of other significant practices in culture and power developed in Latin America.     

INTRODUCING HISTORY (IN)TO CULTURAL STUDIES: SOME REMARKS ON THE GERMANSPEAKING CONTEXT

While ‘cultural studies is caught in a traffic jam’, at the same time the seemingly global crisis of cultural studies coincides with the late reception and high popularity of cultural studies in the German-speaking countries after the ‘cultural’ and the ‘linguistic turns’. Yet, the political and academic history and the contexts of the emergence of cultural studies and ‘Kulturwissenschaften’, as well as their by now established academic traditions and the manifold relations to current developments, are rarely defined and scrutinized. In this paper,we will relate some theoretical and historical perspectives concerning the relationship between cultural studies and the historical disciplines in the German-speaking context. We shall try to trace the potential of mutual benefits between cultural studies and history by foregrounding the political commitment of academic work that still seems to be one of the most important traits of CS as much as the necessity of a stronger notion of the contextualization that history and historiographical methodology provides.     

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’.     

DOUBLE NEGATIONS: HONG KONG CULTURAL IDENTITY IN HOLLYWOOD'S TRANSNATIONAL REPRESENTATIONS

This article attempts to develop a critical understanding of the reconstitution of Hong Kong identity in Hollywood productions involving Hong Kong film talents. It argues that the ‘local’ in the city's historical context of the nineties no longer refers to any entity pertaining to a particular locality and culture but is always already determined by the framework of the transnational, which structures the perception of its local social reality. In particular, the paper suggests that the remaking of Hong Kong cultural identity in Hollywood films could be grasped in terms of the notion of a double negation. While the formation of such an identity is based on a negation of Chineseness, Hong Kong's transnational crossing to Hollywood initiates another negation that negates the very symbolic realm common to Chineseness. Jackie Chan's Hollywood blockbuster, Rush Hour, is used to illuminate the ways in which Hong Kong film stars and directors working for the global entertainment syndicate re-appropriate their agency in the production of a transnational narrative of their identity.     

Rhythmanalysis as a tool in social analysis on ethnicity in Hong Kong

This article applies Henri Lefebvre’s concept of rhythmanalysis to an exploration of ethnicity in Hong Kong. It argues that rhythmanalysis has tended to be used in social geography, architectural research, and cultural studies and has been overlooked as a methodological tool in regard to ethnicity. An historic narrative of ethnic diversity in Hong Kong is contrasted with contemporary transformations. It is argued that rhythmanalysis presents an alternative perspective that can deepen knowledge about enduring social patterns that serve to contextualise ethnicity and ethnic relations in a given space. In conclusion, it is argued that there is a need for greater recognition of ethnic diversity in Hong Kong as a means to assert a more confident and secure local identity.     

Between a subject and an object: representation of China in Kuo Pao-kun’s Singapore and Denny Yung’s Hong Kong

Late Pao-kun Kuo in Singapore and contemporary Denny Yung in Hong Kong have made particular ontological and epistemological choices in their experimental theater in the context of the de-colonization and rise of China. We gather, between the two sites, a possible dichotomy in the representation of China: China as a collective subject to accommodate the changing world and China as an individualized object that emerges in each narrator’s chosen perspective. Kuo intends to prompt the audience to reconnect with something greater than their individuality. For Kuo, the crisis is the loss of cultural subjectivity and the privileging of transcendence over individualized meanings of life. For Yung, cultural subjectivity is no longer a question after the return of Hong Kong to China. Yung painstakingly generates the legitimacy and capacity of individual Hong Kong people to have faith in their own ways of transcending any version of the entirety of China.     

Post-handover identity: contested cultural bonding between China and Hong Kong

This study examines the formation of Hong Kong identity and its cultural articulation in Chinese identity in the post-handover years. Surveys of Hong Kong identity conducted between 1996 and 2016 demonstrate a set of interlinked yet contradictory findings: (i) the coexistence of both cultural pride in and resistance to cultural icons that represent the Chinese state; (ii) weakening correlations between China and Hong Kong regarding cultural affiliation; and (iii) the growing significance of cultural resistance to China by people who love Hong Kong. The survey results indicate the prevalence of an ambivalent identity in post-handover Hong Kong with regard to the coexistence of opposing attitudes toward Chinese identity. These results provide evidence of the complex cultural bonding between China and Hong Kong in the development of the China–Hong Kong relationship since the handover in 1997.     

文化多样性与都市竞争力——国际化语境中的上海文化发展战略研究

文化是一个城市的竞争力和软实力的重要决定性因素,而文化多样性对于城市尤其是国际化大都市的持续发展来说意义重大,是国际化大都市持续发展的活力源泉和魅力体现。在比较和借鉴伦敦、纽约、香港等大都市的多样性文化战略的基础上,重点分析上海自身的文化优势、不足和潜力,求索方案和建议,以打造上海作为国际文化大都市的发展战略,同时前瞻性地反思在发展文化多样性中应注意的平衡关系。     

Online political public relations as a place-based relational practice: A cultural discourse perspective

This study introduces the theoretical and methodological approach of Carbaugh’s (2007) cultural discourse analysis (CuDA) to advance the research agenda on political public relations. I discuss how CuDA, as an extension of the ethnography of communication (EoC), provides clues to unexpected success in an election campaigning. Using the 2016 Hong Kong lawmakers’ election as an empirical example, the most discussed Facebook posts of an election candidate, and 6800 online comments from the public are studied. I identify the socio-cultural meanings that are used and can be used to engage public-to-public election canvassing. This study shows that the prominent discursive hubs of dwelling and relation organize networked publics to canvass. Responding to the socio-cultural turn of the literature, this study grounds the theorization of political public relations in practice. The evaluation of different approaches to discourse also moves the field forward methodologically.     

GLOBALIZATION, NATIONAL CULTURES AND CULTURAL CITIZENSHIP

The article develops an argument in respect of the media of mass communication, globalization processes and what I call cultural citizenship. In the first instance, I argue that in the British and European contexts that national cultures remain more powerful constructions than many postcolonial and postmodern critics seem aware. Secondly, in respect of cultural citizenship, I argue for a three layered component in respect of: (1) the emergence of cultural cosmopolitanism; (2) the specific application of rights and duties to both the television and film industries and; (3) the importance of the concept of civil society. The aim is to thread together a concern for globalizing processes and an attempt to outline a theory of cultural citizenship in respect of the development of systems of communication.     

Handling your Baggage in the Field Reflections on research relationships 1

This paper explores some of the benefits of pursuing difficult, antagonistic, research relationships in the context of biographical interviewing methods that are sensitive to spatial relationships. It argues that confronting sources of tension between researchers and informants and being more open about the emotional baggage we bring to the field as researchers yields more rigorous fieldwork with more insightful results. The argument is developed from a particularly difficult research relationship: an encounter between the author and a British expatriate diving instructor living in Hong Kong. The broader context of the research is the production of white privilege through migration and the operation of global/postcolonial landscape.     

Who's the fairest of them all? Television ads for skin-whitening cosmetics in Hong Kong

This paper explores the notion of fair skin and its relationship to the construction of a Hong Kong ‘racial’ identity by Hong Kongers. It examines a local television advertisement for a cosmetic product named ‘UVWhite whitening softener’. Based on the interpretations of focus-group participants in Hong Kong and the UK, and his own in the role of analyst, the author explores three different perspectives on the advertisement. A triangulation of these three perspectives reveals a number of possible meanings and symbolic functions of fair skin in forming identities of ‘self’ and ‘other’, and their relationships with class, gender and, above all, race in various sociocultural contexts. These perspectives, and the differences between them, also closely reflect the sociocultural backgrounds of the participants and provide clues to an understanding of the ways in which skin colour operates as a visual agent in defining the boundaries of cultural identity, and in identifying a person's place in a local social hierarchy, if not an increasingly global one.     

CINEMA 3: TOWARDS A 'MINOR HONG KONG CINEMA'

This article canvasses the way Hong Kong cinema became modern, at the moment and the place when/where it had to come up with new cinematic images in response to new geo-historical situations. I call it a ‘minor Hong Kong cinema’ in the sense that it is a cinema that deterritorializes within the heart of what is considered major. This minor cinema is not at all just a cinema at the margin. It is rather a strategy to conceptualize and develop certain suggestive examples in order to respond to specific geo-historical situations. While this minor cinema cannot represent the whole of Hong Kong cinema, it also highlights the potentialities of Hong Kong cinema that cannot be covered by dominant discourses on Hong Kong. This article focuses upon the films of Fruit Chan. In Fruit Chan's ‘Hong Kong 1997 Trilogy’, 1997 is neither the beginning of recollections nor the end of Hong Kong. These films dwell upon the failed, the vanished, and the underrepresented to make Hong Kong appear at the intriguing moment of 1997. They explore new perspectives for re-channelling Hong Kong and its histories.     

MAPPING CULTURAL/POLITICAL DEBATES IN LATIN AMERICAN STUDIES

The theorization of postmodernism as the cultural logic of late capitalism has generated a number of debates among Latinos in the US and among Latin American critics in particular. This article examines a number of writings published between 1989 and 1994 by Latin American critics focusing on the viability of seeing Latin America as postmodern. We argue that in the rush to accept First World theoretical frameworks, there has been much confusion and a collapsing of economic, political and cultural categories. Conflating market growth and shifts with social change and the availability of a plurality of consumer goods with the distribution of goods and services, some critics have been quick to label cultural production in Latin America as ‘postmodern’. What is needed is a delimitation of the categories used, an examination of the cultural debate in relation to other debates on development, social movements, democratization and alliance politics, as well as an examination of local intellectual debates within the global context of restructuring and transnational capital.     

LEGITIMATING TRANSPHOBIA

Transgender persons are strangers to the law; or put more accurately, the legal imagination is so deeply entrenched in normative gender binarism as to effectively render transsexuals a ‘freakish’ anomaly to law. This essay attempts to offer a reflection on transgenderism, law and sexual crime from a human rights and criminal law perspective. It focuses on one of the most violent types of institution in society – the prison – and asks: what are the legal imagination and practice surrounding transgender prisoners as they are linked to social and cultural transphobia? What ‘human’ rights can be practiced for a dehumanized class? It first surveys the legal predicament of transgender prisoners in the US prison system in relation to Eighth Amendment rights provided by the US Constitution. The US situation has seen cases that have importantly shed light on other jurisdictions when engaging with the combined questions of prisoners’ rights and transgender rights together. The analysis is then taken to the context of Hong Kong prisons in a modest application. In contrast to some other Asian contexts (such as Taiwan, Thailand and Indonesia), critical cultural studies of transgenderism are non-existent in Hong Kong. Meanwhile, human rights studies of the same have only emerged through the work of legal scholar Robyn Emerton. It is hoped that a rights-based approach will emerge in Hong Kong for the protection of transgender inmates from sexual violence in local correctional facilities.