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.     

论德勒兹的后现代非线性创造思维

法国后现代主义者德勒兹在《千高原》中批判了同一性直线式树状思维,主张根茎思维;阐发了根茎思维的特点;论述了根茎思维的非线性;把根茎思维看为"游牧"的表现形式;提出要辩证看待树状思维与根茎思维的关系,避免各自的片面性。     

Survival at work: flexibility and adaptability in American corporate culture

Using such business self-help bestsellers as Spencer Johnson’s Who Moved My Cheese?, Harvey Mackay’s Swim With the Sharks Without Being Eaten Alive and Kevin Kelly’s New Rules for the New Economy, this article analyses a recent trend in the American business world’s use of Darwinian discourse: the increasing centrality of two specific traits – flexibility and adaptability – to corporate ‘survival’ in the 1980s, 1990s and today. The article argues that this focus on adaptability and flexibility has two especially troubling implications: individuals may be compelled to adapt ceaselessly, and the problematic idea that one can survive or succeed through sheer individual will may become naturalized.     

Ethical Practice and Narratives of Resistance to Violence: Becoming Resilient Part 2

This paper is the second part of a previous publication in this journal and is based on a plenary address at the 30th Australian Family Therapy Conference in 2009. It develops the idea of ethical practice in therapy for men and boys with a history of significant violence and abuse. This fosters a connection with resilience that resists or refuses to participate in historical narratives that support violence and its effects. In the paper, I provide several therapeutic examples of working with narratives of violence and present a theory of resilience and ethical practice drawing on the ideas of Deleuze. This helps to understand resilience as a process of ethical agency, creative renewal, and the production of expansive difference.     

电影画面的构成 ——吉尔·德勒兹“电影画面”思想研究

作为目前唯一全面、系统地研究过电影的思想家，吉尔·德勒兹关于“电影画面”的思想非常丰富。其中，关于电影画面的生成性特征、可见性和可读性的双重特征、电影画面三层次（画面本身、画面的运动、“全体”的流变）和二型态（运动画面和时间画面）的理论，不仅是对电影学理论的丰富，也为电影画面的实际创制提供了深刻的现实启示；值得我们认真研究和认真对待。     

论德勒兹的块茎空间及其当代价值

德勒兹的块茎空间是一个依据“联系和异质性原则”建立起来的概念的生产系统,其本质是反基础主义,哲学意蕴是人的自由和解放。德勒兹的块茎空间思想对于高校创新型人才培养具有重要的现实意义。     

Actors,others, simulacra: a Deleuzean minority report on the early modern Dubrovnik stage

ABSTRACT

A playwright in the minor and marginal culture of renaissance Ragusa, Marin Dr?i? (1508–1557) has often been compared to Shakespeare, despite the obvious impossibility of influence in either direction. There is however an aspect of Dr?i?’s legacy which has received a scarce critical interest in Croatia, although it could also be discussed along the lines of Shakespeare studies: early modern Dubrovnik acting practice, culture, and style. Dr?i?’s actual and meta-theatrical treatment of acting will here be interpreted through the lenses of Gilles Deleuze’s essay ‘One less manifesto’. In this essay, Deleuze expands his notion of ‘the minor’, arguing for a kind of acting practice that would rely on variation, movement, becoming, and a perpetual linguistic deformation, forces that hinder absorption into the discourse of ‘the major’. I will further suggest that Marin Dr?i?’s exposure of the anti-theatrical prejudice of his contemporaries – clothed in a mock-version of Genesis and elaborated in the prologue of his comedy Uncle Maroje – could be read as an exemplary inversion of Plato’s method of argumentation that makes a Deleuzian case for the actor as the ultimate, troubling Other, the simulacrum of true being, a promiscuous and metamorphic kin of marionettes, animals, and women.     

Guattari,Deleuze, and Cultural Studies

This essay maps the changing ways that the concepts and writings of Gilles Deleuze and Félix Guattari have been mobilized in the journal Cultural Studies over the past three decades, reflects on roads not taken, and invites readers into a new conversation about the implications of the work of Deleuze and Guattari for cultural studies.     

Kindergarten Education Scheme in Hong Kong: Policy measures,rhizomatic connections and early childhood teacher education

Using Deleuze and Guattari's concept of rhizome, this study examines the key measures of the Kindergarten Education Scheme introduced by the Hong Kong government in 2017 after a large-scale advocacy movement. It argues that these measures have expanded the power of the neoliberal imaginary through producing an enhanced market apparatus and an apolitical teaching profession. The neoliberal expansion reflects the manifestation of different kinds of rhizomatic connections to reterritorialise the field. This study calls for the rethinking of teacher educators’ ethical responsibility in addressing the complexity of teacher work frequently neglected by policy and the policy/practice divide in teacher education.