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’.     

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.     

Laddishness Online

In a textual analysis of public social network site (SNS) profiles owned by young women aged between 18 and 21, many of the profiles contain representations of self which would typically be considered ‘unfeminine’. Photos of young women and their friends posed with wide open mouths and protruding tongues and images depicting drunkenness and raucousness are common. This kind of ‘laddish’ performativity by young women leaves feminists, especially those concerned with cultural representation, with a dilemma: is ‘feminist representation’ to be found in this aspect of SNS representation, in this kind of ‘symbolically inverted’ depiction of feminine bodies? Does this kind of ‘laddish’ performativity by young women function less as a rebellion against femininity and more as a kind of ‘giving in’ to a certain model of masculinity; as a ‘phallic’ form of girlhood now licensed by the patriarchy; or even an indication of ‘feminine melancholia’, predicated on the broader cultural rejection of critical feminist voices? In this article, I suggest that neither paradigms of resistance or conformity completely suffice for understanding ‘laddishness’ by young women in the context of a viewing premise of self-production, such as that we encounter with SNS material. I start by offering a possible feminist reading of ‘laddish’ body performativity by young women on SNSs, drawing from theories of the ‘grotesque body’ in representation as well as from Mulvey's psychological explanation of ‘voyeuristic’ viewing pleasure in narrative cinema. I go on to develop the concept of ‘performative shamelessness’ by young women and expand upon its possible significations in the post-feminist, neoliberal cultural landscape. Engaging in particular with McRobbie's ideas about the post-feminist era, I suggest that performative shamelessness may be one of the few options available to young women wishing to maintain a sense of self-definition in the face of intense social and cultural scrutinizing, and often sexually objectifying, gazes.     

Eloquent Silence: Akhmatova,Mandel’shtam,Early Cinema,and Modernism

Abstract

Given the conservative nature of the Acmeism movement, which placed emphasis on ‘high’ cultural production, it might be expected that a mechanical medium such as cinema would engender a hostile reaction. Through readings of selected early lyrics it is demonstrated that, despite a measure of suspicion towards cinema as a manifestation of mass culture, both Mandel’shtam and Akhmatova engaged creatively with film from the outset. Readings of later poems which invoke popular mass icon Charlie Chaplin show that ‘low’ and ‘high’ culture are now drawn into much closer proximity. Overall, the lyrics discussed serve to illuminate some of the complexities and tensions inherent to the interaction between modernist literature and the cinema, as well as providing examples of their convergence.     

Photography,cinema and medium as social practice

One of the more interesting aspects of the dialogue between the mediums of the still and moving image that has taken place over recent years has been a concern within fine-art photography for the cinematic. Photographers have turned to the style and iconography of the established genres of cinema as a means of reinventing the pictorial form of the tableau and thereby to explore the possibilities of narrativity within the static image. However, beyond any aesthetic interest the contemporary genre of the ‘cinematic photograph’ may hold, it is argued here that it may be indicative of an important shift in the social, economic and technological bases of fine-art photography. This essay suggests that the significance of the ‘cinematic photograph’ lies in its complex forms of technical production, the mobilisation of skilled labour and professional expertise, and the deployment of substantial economic resources, which are to be found in the film industry. Through an analysis of the work of the American photographer Gregory Crewdson, the authors demonstrate how the formal and iconographic properties of his images are inseparable from his adoption of the cinema's specific modes of production and that the latter is central to a reading of Crewdson's photographs. The consequences this holds for our understanding of the medium of photography are developed with reference to Raymond Williams's concept of ‘medium as social practice’. The authors conclude that the ‘cinematic photograph’ might be regarded as symptomatic of a trend within contemporary art practices to model themselves on cinema as the emblematic form of cultural production of ‘late capitalism’, a trend that has significant implications for the dominant conceptions concerning the nature of the work of art and the role of the artist.     

Cultural production and the politics of identity: On the strategic use of ‘multiculturalism’ in two Austrian cities

This article is a résumé of the findings of an empirical study carried out by the ICCR Vienna between July 1993 and July 1994. The study investigated the images of ‘foreigners’ as members of immigrant minorities that emerge out of the interaction between the cultural administration, organizers of cultural events, cultural agents and ‘ethnic minority’ artists, and how these images and the discourse on ‘foreigners’ relates to practices of inclusion and exclusion. Specifically examined were artistic productions and initiatives of the low‐profit and non‐profit sector of theatrical and musical performances in Vienna and Graz. Qualitative interviews with the main actors were supported and enriched through non‐standardized participant observation, action research and a modest social experiment. The article argues that the Austrian variant of the discourse on ‘multiculturalism’ serves as a tool to formulate social order, whereby social inequality is transformed into cultural difference. The emancipatory dimension of culture as a way of life is used to construct homogeneous cultural ( = ’ethnic') collectives. In this construction immigrant artists serve as the representatives of the collective culture of the ‘others’.     

A cultural studies without guarantees: Response to Kuan-Hsing Chen

Abstract

This article is a short response to Chen's critique of our article ‘Asianing Australia: notes toward a critical transnationalism in cultural studies’. It is argued that Chen's attack on our article is misdirected. Furthermore, we are in substantial agreement with Chen on many issues, most importantly that the nation-state should not be the uninterrogated site for the development of a ‘local’ cultural studies. However, we find Chen's politics, and his use of a reductionist Marxist theory, overly simplistic. Moreover, the core/periphery binary which he uses is not adequate to express the complexities of a global capitalist world order in which the sites of power are becoming increasingly decentred. Similarly, the politics of resistance are also more complex than Chen suggests; resistance must be understood in relation to local situations and local tactics, as well as the imperatives of global capitalism. Finally, a properly localized and left-politicized cultural studies must reflexively interrogate the politics of theory, including Marxism, considering its specific ‘western’ history and recognizing the necessary partiality of theory in a post-colonial world of differentiated modernities.     

Introduction to critical perspectives and emerging models of inter-American studies

Abstract

Alfred Hitchcock’s Rear Window (1954) has been the subject of much critical attention, but the original story upon which it was based and its author, Cornell Woolrich, less so. This article examines ‘Rear Window’ (1942) in the context of Woolrich’s writing and his life more broadly, in order to reveal the privileged role of fenestral imagery in his work. Through a process which starts with surveillance through glass, and a creative interpretation of ‘real’ events consumed in terms strikingly similar to mass media entertainments, Woolrich’s marginalized protagonist assumes the role of the detective and, in doing so, his identity is enhanced. The Woolrichian window reifies abstract social boundaries. It serves, simultaneously, as a symbol of urban alienation and a fantasy of social integration. It also becomes a trope of consumption and popular culture. Hitchcock’s film has sometimes been praised for the self-conscious way in which it aligns the image of the window with the cinema screen in order to implicate viewers in the protagonist’s voyeuristic practice. This article extends such an analysis to Woolrich’s story, but also takes it a step further, to reveal the ways in which reading similarly might be regarded as a voyeuristic form of cultural consumption.     

What we talk about when we talk about ‘walking in the city’1

Originally published. in France in 1980 (and translated. into English in 1984), Michel de Certeau's The Practice of Everyday Life has assumed. the status of an ur-text for many cultural studies academics and students. In particular, his chapter on ‘Walking in the City’ is often cited. as a blueprint for understanding key terms in the cultural studies repertoire such as ‘power’ and ‘resistance’. This article revisits ‘Walking in the City’ in order to supplement some of the established. understandings of his work circulating in the field of cultural studies, as well as the intersecting fields of cultural geography and urban studies. The paper begins by suggesting ways in which established. understandings of Certeau's work might be usefully rethought and extended. through a consideration of differentiated. instances of walking. Critiquing the account of body-subject relations posited. by Certeau through reference to the writings of Marcel Mauss on techniques of the body and self, the author calls, in particular, for a greater consideration of the role of assemblages and affect in understanding everyday urban practices. By the conclusion of the article, the author arrives at a more nuanced. understanding of the feedback loop between the body-subject and the city, and suggests ways in which Certeau's writing on walking remains productive for those strains of cultural studies interested. in the practices of an increasingly virtualized. urban space.     

‘Keeping it real’: tryhards,clones and youth discourses of authentic identity from Hollywood to high school

Authenticity is a key cultural rubric for youth in the contemporary West. Texts aimed at young people frequently direct viewers to ‘keep it real’, to ‘be themselves’ and to avoid ‘putting up a front’. ‘Being yourself’ is portrayed as a moral achievement, yet also as something subjects should ‘naturally’ be. This article examines how students at an urban high school in Aotearoa/New Zealand conceive of being ‘real’, exploring what they deem to be authentic identity and its expressions. This article considers the students' use of both constructionist ‘surface’ and essentialist ‘depth’ discourses of identity. It examines how the students conceive of authentic identity as both stable and fluid, anchored in bodily experience and produced at the moment of recognition by others. It argues that through the production of the figures of the ‘clone’ and the ‘tryhard’, the students resolve the tension created by their positioning of identity as inseparable from the gaze of others and their view that to live for others is inauthentic. The students distance themselves from the behaviour of these Others, who they conceive as presenting themselves inauthentically. The students' conceptualisation of authenticity and use of the figures of the clone and the tryhard provides impetus for the positioning of authentic identity as performative, produced through its enactment.     

The magic of mundane objects: culture,identity and power in a country vets' practice

This article explores and extends the idea that material objects lie at the heart of many of our social, and specifically workplace, interactions. The site of exploration is an ethnography of a British farm animal veterinary surgery. Drawing upon traditional cultural studies approaches alongside contemporary sociological understandings about the place of materials in social life, the article analyses how objects function to track and structure the ways that people of different professional status experience work at a veterinary surgery. It is argued that the power of the veterinary elite in this setting is best understood by paying close attention to ‘mundane’ artefacts. The article argues that such objects, having almost no meaning on their own, can become potent cultural symbols if actors have the necessary social capital to ‘transform’ them. Here, Latimer's concept of ‘strong moves’ (2004) is extended to consider how the reinterpretation of objects might constitute a form of ‘cultural magic’. This article seeks to uncover some of the practical scenarios in which such ‘magical’ transformations play out and describes, through a series of tales from the field (Van Maanen, 1985), the ways in which vets control and regulate their interactions with those outside the professional elite.     

Before,during and after the cultural turn: a ‘Baedeker’ to IR's cultural journey

This article, which is part of a broader attempt to construct a ‘Baedeker’ to IR's cultural journey, contributes to the contested debated on the (ir)relevance of cultural diversity to the study of international relations by providing a picture of where we come from, of where we are now situated and of some of the suggestions as to where we should be going in order not to get lost in this almost uncharted landscape. The first main section discusses why questions pertaining to cultural diversity traditionally have held a surprisingly marginal position within IR and shows how IR before the Cultural Turn was more ‘culture-blind’ than ‘cultureblank’. The second main section turns attention to IR during the Cultural Turn and examines how two influential bids for a culturalist alternative have been better at posing good questions than providing attractive answers, placing IR's cultural journey in a ‘blind-blinded stalemate’. Against this background, the last main section asks where the cultural journey should head after the Cultural Turn and identifies and evaluates four different suggestions for ‘routes’ to proceed by. While they may be at variance when it comes to the specific direction suggested, they all represent attempts to set a course between the culture-blind Scylla and the culture-blinded Charybdis, and indicate in this way that it would be premature to let the problems associated with the Cultural Turn lead to an expulsion of questions relating to cultural diversity from the IR agenda.     

Medication Effect Interpretation and the Social Grid of Management

Abstract

This article reports on two research projects and argues that current medication management research and practice does not represent the complexity of community-based psychotropic treatment. Ethnographic findings are used to demonstrate that a social grid of management exists to negotiate medication ‘effect’ interpretation. Anthropological and semi-structured interview data are used to illustrate patient subjective experience of atypical antipsychotic treatment. It is argued that ‘active’ and ‘passive’ management relationships are produced by the myriad ways individuals manage the gap between the desired and actual effects of medication. It is shown that psychological and cultural ‘side effects’ are as common as physical ‘side effects.'     

CINEMAGOING AS A CONDITIONAL PART OF EVERYDAY LIFE

This paper is part of the recent shift within the ‘New Cinema History’ from the attention for the film text to a broader consideration of the social and cultural history of cinema. In the last years, research did not only concentrate on the production and meanings of the pictures, but it also saw an increased interest in the distribution, exploitation and consumption of film. Interest for film as a consumable good has come from various disciples such as Cultural Studies, sociology, anthropology, political economy, geography and oral history. This study is based on oral accounts. Research on memories of going to the movies has contributed significantly to defining the spatial and social conditions of the cinematic experience. Yet this illuminating bottom-up approach of lived cinema cultures is mostly limited to the Anglo-Saxon experience of American films in English spoken film markets. As part of a larger research project on cinema culture in Flanders, 62 inhabitants of Ghent, Belgium, were interviewed concerning their moviegoing habits from the 1930s to the late 1970s. The oral history project aimed to analyze the significance of cinemagoing in a local community defined by class, language and a ‘pillarized’ society. The main research question in this paper is how particular was going to the movies in a local film market not overwhelmingly defined by American distributors or Hollywood movies and what were the sociocultural mechanisms behind moviegoing. In doing so we look at the entwinement of the experienced everyday life with the memories of choosing a movie theatre, remembering a movie and recollections of choosing cinema as leisure. Memory reclamation of local moviegoing as non-textual empirical research can define a parallel media history of cinema culture in Ghent and supplement the international research on cinemagoing experiences.     

WORKING WITH PIERRE BOURDIEU IN THE TOURISM FIELD MAKING A CASE FOR ‘THIRD WORLD’ TOURISM

Tourism in the ‘third world’ is seen as a consumption of culture, and attempts at investigating it within a cultural studies framework have not adequately addressed key social and cultural aspects. Bourdieu's analytical legacy which is significant as a cultural legacy is largely misappropriated. This article, reviewing recent research in cultural studies in tourism, highlights and critically interrogates the treatment Bourdieu's theory has received in tourism studies. Arguing that Bourdieu's sociological framework is often misinterpreted, this article sketches out the key components of a Bourdieusian approach to a cultural analysis of tourism. Reflexive return in tourism research remains largely unexplored. This conceptual paper emphasizes the significance of working with Bourdieusian methodological approach and explores the possibilities of employing a reflexive sociology in tourism studies. The paper further highlights the difficulties of pursuing such a theoretical approach and proposes the need to accommodate recent theoretical and empirical challenges to Bourdieu's paradigm.     

Migration and the dialogue of multiple identifications: Kurdish migrants in the tourist industry of Istanbul

This article examines the cultural dilemmas proceeding from the multiple identifications of Kurdish migrants working in the multicultural environment of Istanbul’s tourist industry. Since identifications invariably multiply when migrants enter multicultural environments, the question emerges how migrants cope with increasing identifications? How are multiple identifications related within the self? In this article, these questions are addressed, first, by analysing how Kurds explain ethnic stereotypes of themselves with reference to migration from the region of origin. Furthermore, conflicts and ambiguities between identifications as individual migrant and identifications as family member are investigated. Third, identifications of the ‘villager’ versus the ‘urbanite’ are reviewed, while, finally, the role of ‘learning’ in the migration process for Kurdish identifications will be highlighted. Dialogical self theory is used to situate the analysis of cultural dilemmas and contradictions of Kurdish migrants in Istanbul within the broader study of multiple identifications of migrants in multicultural societies.     

From Christianity to paganism: The new middle ages and the values of ‘medieval’ masculinity

Abstract

In the context of the upsurge of interest in all things medieval, this essay examines the promotion in popular culture of ‘medieval’ masculine role models. It begins with an assessment of the 19th century's creation of a version of medieval masculinity which was essentially Christian and chivalric. It traces the transfer of this image from literature to cinema in the 20th century. It argues that the image remained dominant until the 1960s when it was eclipsed by a new version of medieval masculinity, a violent pagan ‘Dark Age’ model. This new image triumphed because of changes in society and in the structure and strategies of the cinema industry and its audience. The essay concludes by examining possible medieval alternatives to the pagan ‘Dark Age’ image: the revived chivalric knight, the eco‐warrior and the transplanted modern rationalist. The evidence suggests that they have not yet dented the dominance of the pagan image.     

EARLY CINEMA'S HEYDAY OF COPYING

Between 1895 and 1909, new American film entrepreneurs complained that ‘copying’ was out of control. Although ‘copying’ may have been widespread, and sometimes referred to as ‘theft’, it was more a worldwide industry practice than an extralegal operation. Before the 1909 US court case that decided the question of copyright in the motion picture, movie producers copied in an attempt to meet the demand for product. My discussion of the notion of ‘copying’, however, is somewhat ambiguous in that I need to make the term cover motion picture print duplication (‘duping’) as well as remaking. Framed by Lawrence Lessig's statement about the contemporary period, ‘copyright is out of control’, I wonder here if today's excessive use of copyright could be foretold in the way in which early cinema pioneers talked about the order that regulation would bring to the new industry. I ask, more specifically, if this early period of unfettered reproduction can tell us anything about contemporary conditions in which the technological capacity to duplicate has outstripped the state's capacity to regulate duplication.     

Diversity without difference: modelling ‘the real’ in the social aesthetic of a London multicultural school

This article analyses the social aesthetic of the visual displays of a multicultural London primary school. It shows that the social aesthetic of the school models the school as a site of the ‘real’ in Baudrillard's sense of a ‘real’ that is a simulacra of the real, one from which the violence that is produced within and is constitutive of capitalism is expelled. In this view ‘race’ is not a division of humanity caused by racism, it is simply a cultural sign marking diversity. Difference, in the sense of racialised inequalities or racism, can be expelled from the system without ‘race’ itself being expelled. By the same logic, nationalism, as an exclusionary ideology, is separated out from national identity, which becomes simply one of a range of cultural resources that children can draw on in assembling the self.