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.     

IMAXTECHNOLOGY AND THE TOURIST GAZE

IMAX grew out of the large and multiple screen film experiments produced for Expo '67 in Montreal. Since then, it has become the most successful large format cinema technology. IMAX is a multiple articulation of technological system, corporate entity and cinema practice. This article shows how IMAX is reintroducing a technologically mediated form of ‘tourist gaze’, as elaborated by John Urry, into the context of the institutions of museums and theme parks. IMAX is seen as a powerful exemplar of the changing role of cinema-going in contemporary post-Fordist culture,revealing new configurations of older cultural forms and practices. In particular, the growth of this brand of commercial cinema runs parallel to a blurring of the realms of social and cultural activity, referred to as a process of ‘dedifferentiation’. This article gives special attention to the espistemological dimensions of IMAX's conditions of spectatorship.     

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.     

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.     

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.     

From the transnational to the Sinophone: lesbian representations in Chinese-language films

This article theorizes global lesbian cinema in Chinese-language films through regionalism, diaspora studies, and Sinophone studies. Through an inter-regional analysis of Butterfly (Yan Yan Mak, 2004, Hong Kong) and diasporic and Sinophone readings of Saving Face (Alice Wu, 2005, USA), I argue that Mak's film illustrates a Hong Kong regional retranslation of a Taiwanese lesbian story, which complicates any claim to a stable "Chinese" identity. Finally, Wu's representation of lesbianism also troubles the politics of Chineseness by pointing to the ways diasporic reproduction of "community" works through the disciplining of other non-normative sexualities.     

The struggle for hegemony: the emergence of a counter-public sphere in post-1997 Hong Kong

The present study examines the struggle for hegemony in the public sphere by two different systems, following Hong Kong’s handover to China in 1997. It has been postulated that the new media, particularly social media, has become an important public sphere for the citizens of Hong Kong to engage in an anti-hegemonic struggle against China’s discursive encroachment into Hong Kong since 1997. Given that the public platform provided by legacy media has been bought out or coopted by China, new media has begun to serve as a subaltern public sphere to enable resisting the hegemony imposed by China. This was analyzed through a survey conducted as part of this study, which showed that people who are young, read the Apple Daily, have high expectations of local autonomy, and a high regard for press freedom are prone to using social media to obtain their social and political information. This article analyzes the implications of the emergence of a counter-China hegemonic public sphere.     

Body,dress and cultural exclusion: Experiences of Pakistani women in ‘global’ Hong Kong

Underneath a veneer of racial harmony and acceptance, racial discrimination is widespread at many different levels of life in Hong Kong, the so-called ‘global city’. For decades, some minority communities have lived with subtle but institutionalized and cultural discrimination permeating their existence. In recent years, social exclusion has been one of the important themes in policy debates in Hong Kong. It is increasingly recognized that there is a close relation between ‘ethnicity’ and ‘social exclusion’. According to our research on the life situation of the South Asian minority in Hong Kong, experiences of exclusion are common. This paper focuses on investigating dress as a form of cultural exclusion among Pakistani women in Hong Kong and how mainstream society constrains the bodies of its members through dress.     

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.     

THE HI/STORIES OF HONG KONG

This paper examines the formation of modernity in three colonialist epics of Hong Kong and the recent historical and fictional works that aim to rewrite the history of the ‘local’. Adopting a challenge-response structure, the paper argues that the colonialist epics construct a monolithic discourse of modernity-as-progress via the amnesia of conflicts, tensions, and processes of domination and negotiation in the rural and everyday space of colonial Hong Kong. It is stressed that to piece together the above anomalies is not an attempt to restore a pre-given ‘native’ to but rather an endeavour to examine how the ‘local’ as divergent historical agents shaped and has been shaped by the political, social, and economic environment of Hong Kong and the larger world outside. This can be called a model of dialectics composed of an internal dialectic and a dialectic of articulation. In this regard, with the benefit of the rapprochement of history and anthropology and a non-linear view of history, this paper is a historical bricolage of the anomalous history of Hong Kong, aiming to destabilize the Hong Kong historical grand narrative. Through rethinking the impact of the colonial experience, this paper hopes to liberate alterity and diversity in historical interpretations and imaginations.     

‘Life is a state of mind’ – on fiction,society and Trump

The article undertakes an allegorical double reading of Being There and Trump as instances of what we call socio-fiction. Crucially in this respect, reality and fiction are not two opposed realms. The two realms always interact in subtle ways, which is why cinema can be a resource for diagnostic social analysis. We first articulate a general commentary on the relationship between cinema and society, introducing the concept of ‘socio-fiction’. Secondly, we analyse Peter Sellers’ Being There, an interesting film focused on the relationship between reality and fiction. In this analysis, we elaborate on different ways of approaching fiction in a sociological prism. And finally, we discuss Trump as a fallout effect of Being There. After all, a film is not just an image of a reality, a shadow or appearance of a social fact; sometimes the reality itself seems to have become an appearance of an appearance, a shadow of a shadow.     

Hong Kong and China in 1997

In 1997, Hong Kong changes from a British colony to a Special Administrative Region (SAR) of China. While officially it has been agreed that the status change should not alter the economic or social conditions in the territory substantially, many people believe that residents' lives will be considerably affected. Hong Kong society has always been highly mobile and fluid in terms of migration, and it is only very recently that over half of the population have been born in the tenitory Many elderly people in Hong Kong were bom elsewhere and many Hong Kong families are fragmented, with members living in China, elsewhere in the Asia-Pacific region, North America, Australia, and Britain. The potential impact of 1997 on the lives and conditions of elderly residents is only now forming a focus of concern. This article considers what may happen in the closing years of this century and early next when the SAR emerges. There is already growing popular belief that, for financial and social reasons, some elderly people are going back to China for their retirement. However, evidence from a survey of 419 noninstitutionalized respondents found relatively few expressing a desire or willingness to retire to China. This article concludes with a discussion of why this may be so. A major reason may be that, with the increasing ease of visits between Hong Kong and China, Hong Kong elderly people might feel more comfortable with alternately living in China and Hong Kong instead of taking the bold decision of permanently living in China.     

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.     

Why ‘Reunion in Democracy’ fails? – the past and the future of a colonial city

ABSTRACT

This paper addresses the current political predicament in Hong Kong. However, rather than offering a casual political commentary on the current state of identity politics of Hong Kong, it offers a critical and historical evaluation of the ideas and practices of ‘Reunion in Democracy’ in the past decades.     

BECOMING HONG KONG,RAZING BAOAN,PRESERVING XIN'AN: AN ETHNOGRAPHIC ACCOUNT OF URBANIZATION IN THE SHENZHEN SPECIAL ECONOMIC ZONE

Located just north of Hong Kong, Shenzhen, the largest and oldest of China's Special Economic Zone (SEZ) has been both a project and symbol of post-Mao modernization. In this paper, I trace how the Shenzhen built environment mediates images and experiences of ‘Hong Kong’, arguing that transnationality in the SEZ is an everyday practice where tradition, colonialism, and the Cold War provide raw materials for the local reworking of the changing relationship between the Chinese state apparatus and finance capital. My story has a double focus: the ideology of urbanization as modernization and historic preservation. On the one hand, the ideology of urbanization-as-modernization legitimates a spatial order in which the rural is always posed to be superseded by the urban. Both the rural and the urban are empty signifiers that are created through comparison and deployed to guide action. In this important sense,‘Hong Kong’ has been urban with respect to rural ‘Shenzhen’ (formerly Baoan County), even as ‘Shenzhen’ has been urban with respect to the Chinese hinterland (neidi). On the other hand, historic preservation domesticates ‘Hong Kong’ as Shenzhen's past through the figure of Xin'an County, the geographic predecessor of both Shenzhen and Hong Kong. These complimentary displacements produce a nostalgia peculiar to the SEZ: a desire for a past that entitles contemporary Shenzhen residents to Hong Kong's prosperity. This nostalgia is structured with reference to a shared origin - Xin'an County - where Hong Kong's postwar history (1950–1979) becomes the past that Shenzhen (rural Baoan) would have had, if not for a cruel twist of socialist fate.     

Becoming quixotic? A discussion on the discursive construction of disability and how this is maintained through social relations

Using an autoethnographic approach, this paper focuses upon interactions between ‘Paul’ (a pseudonym), whose symptoms associated with ‘severe learning difficulties’ are such that he is positioned on the low-functioning end of the autistic spectrum, his carers and others, in spaces taken for granted to be ‘public’ in both the United Kingdom and Hong Kong. This paper examines how social discourses relating to disability filter into social interactions, ultimately constructing the symptoms they purport to represent. This paper concludes by highlighting how interactions might be viewed as enabling rather than disabling, as producing spaces for thinking about the human condition.     

‘Ink Art’ as strategy for Hong Kong institutions

Abstract

In both their wider cultural dimensions and the institutional practices they stem from, the practices of ink art in Hong Kong manifest themselves in a variety of discourses ranging from the ‘traditionalism’ of the conservative nativists to the ‘contemporaneity’ of artists and institutions often identified as being closer to ‘Western’ culture. Even though the most influential discourse about ink art in Hong Kong has clearly been produced by official institutions, like the future museum of visual culture called M+ and the already existing Museum of Art, it has also been profoundly influenced by private associations whose influence has been far reaching. The most visible of these private associations in Hong Kong is the Ink Society, whose founding members and their affiliates and friends have played a central role in the early debate about the nature of ink art in the history of local arts. Through an analysis of a failed attempt by the Ink Society to bid for the right to manage a historical site, this paper attempts to unravel some of the ideas that support the notion of ink art in Hong Kong.     

What It Feels Like for a Whore: The Body Politics of Women Performing Erotic Labour in Hong Kong

This article seeks to investigate the complexity of the working experiences of female prostitutes in Hong Kong, using an oral history approach. Based on 13 in‐depth interviews, I depict my respondents as performing the skilled emotional labour of sex in exchange for their clients’ money. Looking at the ways in which the women manage the job, the self and the business, I argue that their major problem is not with the commercial transaction (that is, the content of the work itself), nor with the ‘conflict’ between their personal and work selves, but with the social stigma, surveillance and dangers at their workplaces. Inspired by a post‐structuralist conception of power and identity formation, I propose a women‐centred lived‐experience feminist approach in the hope of filling the gap between the bipolar imageries of ‘sexual slavery’ or ‘sex radical’ that have been thrown up in the feminist debate over the meaning of prostitution. This approach emphasizes the inter‐relationships among women’s lived experiences, the micro‐sites of social surveillance and the macro‐condition of wider society. Although Hong Kong female prostitutes are not ‘political’ in fighting for their rights and benefits, they have tended to take the path of micro‐resistance in combating societal domination. They negotiate an identity of the ‘prostitute’ that is sensitive and flexible to different institutional areas that seems to jeopardize the neat binaries of madonna/whore, good girl/bad girl, victim/warrior, conformist/radical. This allows them to create their own space to work and survive.     

‘Roundabout routes and sanctuary schools’: the role of situated educational practices and habitus in the creation of transnational professionals

In this article, I examine the role of ‘education’ in the formation of transnational professionals in contemporary Hong Kong. A significant body of work has been devoted to considering the ways in which knowledge within particular global financial centres is embodied through the practices of a transnational capitalist class (TNCC). Yet, very few researchers have discussed how this TNCC is actually created. In this article, I highlight the importance of one faction of the TNCC ‐‘overseas‐educated locals’‐ and describe the sense of common identity and mutual recognition that binds them. Drawing on fieldwork conducted in Hong Kong and Vancouver between 2000 and 2003, I demonstrate the salience of embedded and spatialized practices of education in the creation of the TNCC. In particular, I look at the role of inculcation within a school/university and home environment, as well as the significance of a distinctive habitus, and conclude that these situated processes are indeed crucial to the development of an exclusive class of transnational professionals.