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1.
ABSTRACT

Working through the entanglements of diaspora, national identification, and minority formation in the protracted aftermath of the Korean War, this article intends to take the dyadic subject of North Korean defector/refugee as an entry point for unpacking the rhetoric of freedom and salvation. Taking a cultural studies approach that regards literature as a terrain of political engagement for reconsidering the narratives of freedom in relation to the hierarchy of nationhood embedded in the protracted Cold War in Asia, I examine Krys Lee’s novel How I Became a North Korean (2016), an Asian American text that weaves together the story of an Asian American returnee with those of North Korean refugees in the North Korean-China borderland. Conflating refugee and returnee, Lee’s novel occasions an exploration of the ethics of co-presence that undergirded Asian American studies, to consider both the predicaments of North Korean refugees and the linkage between Asian America and Asia. Taking literature as a form of activism, this article furthermore seeks to reflect on the promise of activism by asking how the demands for the right for return may complicate the orthodox of humanitarian imagination, and render a moment for relational thinking beyond representation.  相似文献   

2.
Films produced since the 1990s revival of Singapore cinema have been interpreted through a historical backdrop consisting of the nation's rapid development, participation in the global economy and authoritarian one-party governance. Film historians have described these texts by relying on discourses associated with globalization and postmodernism. This paper finds the perspective of Singaporean films to have overlooked colonialism as a significant part of Singapore's cultural identity and argues that greater consideration of that history can not only illuminate contemporary films, but also expand film scholarship to include understudied films from Singapore's ‘golden age’ of filmmaking from the 1950s to early 1970s. The history of Singapore cinema should thus be re-periodized. By analyzing the heuristic function of colonial urbanity in films from both eras, this paper explores how spatiality provides a common thread that runs through local experience, identity, culture and cinema.  相似文献   

3.
ABSTRACT

In this essay, we stage a conversation about our experiences researching everyday histories of encounter between Asian and Asian diasporic subjects during the Pacific and Vietnam Wars. Through readings of materials from the archives of two empires, Britain and the United States, with bloody records of military intervention in east and south-east Asia, we show how wartime inter-Asian, Afro-Asian, and Asian diasporic geographies of relation overlapped with and animated one another, helping to (re)produce trans-local communities of affinity over space and time even as they also functioned as infrastructures for empire. Throughout, we reflect on the infrastructures – material, institutional, epistemological, affective – that make inter-referencing possible, both for our subjects and, importantly, for ourselves. If our archives resonate, what does this tell us about the trans-imperial durability of the intimate infrastructures we show taking shape in 1940s China and 1960s Vietnam respectively?  相似文献   

4.
Abstract

Hong Kong's film industry has been living through and beyond the 1997 handover to China. Along a complicated socio-economic and cultural heritage, the city's “crisis cinema” successfully milked takeover fears for an anarchic display of showmanship. Local filmmaking conditions, popular narratives and aesthetics from that time can be identified as ingredients in a “chaotic formula” that instigated Hong Kong cinema's “Golden Age.” Unlike other film industries, which point to their disaster centres in a search or celebration of national identity, Hong Kong survived at a fragile historic juncture largely by sailing around the cliffs of political affront and resorting to metaphorical speech instead. Yet, following the handover, the film industry has retired its previous attitudes about itself and the future; it has integrated a new “China factor” and riddled cinema with contradictory statements about the “condition” of Hong Kong. System failure, madness and identity theft in crime stories appear alongside celebratory historicism, cultural allegiance and escapist spectacle, especially in Hong Kong-China co-productions. This paper follows the evolution of the crime genre along general dynamics and transformations of the formula from the 1980s, past the turbulent 1990s and into recent postcolonial Hong Kong, in which the inability to formulate a new crisis, or the resolution of the previous one, has put cinema itself into crisis.  相似文献   

5.
ABSTRACT

This article reveals the role of volunteers in the British government’s campaign to increase recycling during the Second World War. It uses their experience to deconstuct the idea of a 'people's war', showing how this concept was invoked in several different ways. The article demonstrates that voluntary recycling schemes were led from the bottom-up, shifted the balance of power between private citizens and local authorities, and highlighted difference based on age, socio-economic status, gender, and geographical location. It concludes that official appeals may have invoked the ‘people’s war’, but the way that these messages were received was of most importance.  相似文献   

6.
ABSTRACT

Achieving worldwide success in 1939 with his bestselling novel, How Green Was My Valley, Richard Llewellyn became indelibly linked with a particular vision of Wales and Welshness. Yet, when it posthumously emerged that Llewellyn was not Welsh but an Englishman of Welsh parentage he faced accusations of fakery. Mapping Llewellyn’s military service in the Welsh Guards and work with the BBC, this article traces his complex negotiation of selfhood during the Second World War. By highlighting how Llewellyn was embraced as a cultural representative of transnational Welshness, it underlines the potential of dual identifications in underpinning constructions of wartime Britishness.  相似文献   

7.
ABSTRACT

This article explores theoretical-methodological challenges in researching the formation of collective memory in the wake of dictatorship. The worldwide growth of memory sites suggests space crystallizes memory into stable formations. However, rather than monolithic discourses, environments attest to complex processes of memorialization and willful amnesia. I propose that research-led filmmaking can draw out spaces’ heterogeneous “stories in waiting.” Through the documentary After Trujillo, which revisits memory sites and ruins of Rafael Trujillo’s dictatorship from 1930 to 1961 in the Dominican Republic, I assess how working at the interface between research and film can (a) probe space’s testimonial capacity; (b) engage audiences in public debates about violent pasts; and (c) stimulate sustainable discussions through online platforms. Given that films still lack recognition as academic outputs, at stake here is the claim that creative methodologies constitute “a form of research” and “detectable research outputs.”  相似文献   

8.
Abstract

This paper examines the construction of working‐class Mat Motor (Malay biker) masculinity and queer desire in/through KL Menjerit, a commercial biker film that exudes the unmistakably aura of working‐class kejantanan (masculinity). Specifically, I focus on how the film – or more precisely the ‘queer moments’ it contains – resonates in ways that are not necessarily obvious to the disinterested heterosexual public eye. The discussion takes into account both filmic elements and the sexual geography of Kuala Lumpur (KL), where shifting biker spaces sometimes intersect with homosexual cruising sites. My argument is that the film’s representation of the Mat Motor protagonist as unbendingly straight and heterosexually jantan – while imaginably gratifying to the core audience of Mat Motors – actually belies the opposite reality of KL’s ‘forgotten’ underside, where gender and sexuality are much more fluid and malleable than is sanctioned by society and the state.  相似文献   

9.
ABSTRACT

This article theorizes the affective forms that Asian-Indigenous alliances might take, using examples from contemporary Canadian film and literature as a cultural testing ground. Building on the efforts of scholars like Rita Wong, Larissa Lai, and Malissa Phung to trace a literary genealogy of Asian-Indigenous relations in Canada, the article first considers the structures of feeling which bolster efforts towards coalition-building between Asian settlers and First Nations. Rather than extending an optimistic or redemptive model, the article suggests that negative affect (or, what Sianne Ngai calls “ugly feelings”) ought to be taken seriously as both an unavoidable presence and a potential catalyst in and for active solidarity. The article then analyzes Sto:lo author Lee Maracle’s short story “Yin Chin” and Peter Blow’s documentary film A Village of Widows with an eye towards how bad feelings underpin the narrative calls to action in both texts. The article concludes by considering the role that bad feeling can and does play in terms of inter-referencing practices among cultural and historical scholars.  相似文献   

10.
Abstract

After having lain dormant for some 20 years during 1973 and 1991, the Singaporean film industry is experiencing a revival. Films produced since the early 1990s have been resolutely ‘local’ in their portrayals in an effort to ground this emergent cinematic modernity. Only a handful of these films have, however, received any international attention; most remain ‘too local’, ‘too colloquial’ to be exported further afield. This paper explores those visions or versions of the local presented in contemporary films from Singapore that simultaneously manufacture a brand of foreignness assimilable by international audiences. Through an overview of films from the revival period, this paper will show that the images that do travel successfully overseas are those that portray the dark side to Singapore’s road to economic modernization, the failed processes of an Asianized modernity. It is these images, representing one vision of an ‘authentic’ social reality, that is recognizable by international audiences in the context of previous successes by Asian films utilizing a shared form of (local) expression. My question is whether we can read these images as a particular kind of ‘slang’ – a vagabond expression that represents a filmic vernacular that also strategically invokes a cinematic modernity for the Singaporean film industry. This argument may extend to other (emergent) Asian cinemas that also participate in the production of this particular brand of foreignness. The paper will therefore provide some initial speculations towards the regionalization of cinema and ask whether such a move might be desirable and what its purpose might be.  相似文献   

11.
ABSTRACT

The article explores the nature of popular fears during the early years of the People's Republic of China by examining two types of rumour: those of a ‘secular’ type that told of China's defeat in the Korean War, a third world war or an imminent nuclear attack; and those of a ‘supernatural’ type that told of demons out to snatch vital organs or the end of the world. These rumours testified both to the resilience of ancient cosmological beliefs and values and to their capacity to fuse with elements of ‘modern’ politics. The article asks what they tell us about the relationship of the party-state to the populace.  相似文献   

12.
Abstract

This article situates Hou Hsiao‐Hsien’s films in the post Cold‐War global setting. It discusses two common interpretive approaches to Hou Hsiao‐Hsien’s films – French auteurism and ‘national allegory’ – and puts these two approaches within their historical context of Cold‐War and post Cold‐War global politics. The article places the rise of Hou Hsiao‐Hsien’s films parallel to the rise of the mainland fifth generation of film directors, pointing out that their apparently opposite directions – Hou Hsiao‐Hsien going political in his Taiwan trilogy and the fifth generation film directors going apolitical – are part and parcel of the same phenomenon of alternative politics in its particular contexts and the reconstruction of a new identity politics. Particular attention is given to Hou’s Taiwan trilogy, Flowers of Shanghai, and Coffee Jikou.  相似文献   

13.
The definition of the Korean national cinema in the course of modern and contemporary history of South Korea has provoked controversy. This article examines the negotiations in the identity formation of Korean filmmakers examining specific objects from years of reconstruction following the Korean War. It pays attention to the time when state-building and nation-building became combined enduring heterogeneity of this process. Kim Ki-yo?ng's films depict such characters. His public information short films reflect the legacy of American war films. However, they also contain self-conscious moments when the director refuses to be identified as a mere successor of American documentary filmmakers. Kim's first commercial film, Boxes of Death (1955), an anti-communist thriller, shows great influence from Hollywood, but also with a strong auteurist impulse, theatrical tradition, and the Japanese colonial legacy. However, the most important aspect is the standing presence of America and the USIS-Korea in the identity of Kim Ki-yo?ng and his film. American agencies intervened in the work of Korean filmmakers in the interest of “Free World” bloc-building, and those filmmakers used such agencies to obtain resources. The heterogeneity in the process of the subject formation in Korean national cinema was one common characteristic of many filmmakers of the post-Korean War era.  相似文献   

14.
ABSTRACT

Food and military identity were inextricably linked in the British Army: rations were a thrice daily indicator of the men's separation from their civilian selves. The soldiers were what they ate, but they were also where and how they ate; the grubby rapacity of the barrack dining hall, the absence of civilizing cutlery and the unfamiliar food delineated their new role as clearly as any uniform. Institutional feeding facilitated the erasure of self, an unhelpful attribute in the military world. Men's accounts indicate the conflict between their appetites and what they all too often regarded as oppression in a dietary form.  相似文献   

15.
This paper was originally written as a keynote speech for a specific occasion, an international forum that was held by the Presbyterian Church in Taiwan (PCT) in Taipei in February 2001, to discuss Taiwan's international status in the post-Cold War era. The PCT is known as a strong advocate of Taiwan independence and democratization, and I had this specific audience in mind in organizing this paper. My concern was that the independence advocacy that had aptly expressed people's aspirations in the democratization movement under the iron-fist rule of KMT was being subsumed, as Taiwan polity was Taiwanized and democratized, into a banal statist discourse. This discourse, I am afraid, has distanced itself from its original popular source and become the elite politicians' discourse, indifferent to the everyday life and security of the people in Taiwan. I approached this problematic from the perspective of 'people's security', which I discussed in my previous essay on the topic in Inter-Asia Cultural Studies , vol. 2, no. 1. As the mutual relationships between East Asian countries had to be shaped overwhelming by the US Cold War rhetoric and material influences, discussing Taiwan with regard to the transition to the post-Cold War era required me to go, albeit in outline, into the basics of these relationships as well as the modes of US hegemony in this region both in the Cold War and post-Cold War settings. I felt that characterization of these diverse elements, if sketchy, was indispensable to discussing the topic, Taiwan today. At my friends' suggestion, I tried to revise the original paper to fit into the concerns of the general readership, with the different aspects mentioned more fully explained. However, I have found this difficult as it would require me to write a completely new article, or maybe a whole book. So I present this paper almost as it was written for the original PCT audience.  相似文献   

16.
ABSTRACT

The Sympathizer is a theoretically sophisticated response to the narratives concerning the Vietnam War in the context of U.S. imperialism through the wars in Iraqi, Afghanistan, and the context of more currently terrorist attacks. What Viet Thanh Nguyen has undertaken in this fierce and bold debut is not an attempt at an authentic delineation of the war in Viet Nam, but a critical reflection on the knowledge production regarding the Vietnam War in particular, and all the other wars in general. With an ambitious and disturbing gesture, The Sympathizer confronts the “frames of war” and endeavors to circulate beyond the limits of the “frames” in order to shed light on an unresolved entanglement encoded in the war narratives. By stitching together conflicting voices and standpoints, The Sympathizer makes visible a complex web of war narratives and the ill-conceived logic that previously undiagnosed. This essay eventually discusses the way in which Nguyen’s post-Apocalyptic sentiments give The Sympathizer an intricate touch and a narrative reenactment that echoes the practice of pacificism.  相似文献   

17.
Abstract

Singapore in the 1950s had undergone a series of transitions, from 150?years of British colonial rule, followed by Japanese Occupation in the Second World War, to the anti-colonial independence movement, and presented a multifaceted, complex and active state in all social, political and cultural aspects. The Chinese intellectual circle as a community mainly comprised teachers, students, alumni, etc, of the Chinese middle schools established after the War, and intellectuals from the cultural sphere and press industry. This community played an important role in the anti-colonial resistance and movements throughout the 1950s. In the historical context of the struggle for autonomy and independence, the Chinese intellectuals in Singapore—originally as part of Malaya—were promoters and activists in the construction of the imagination of a Malayan nation, as part of the wave of post-colonial struggles and movements taking place in colonies around the world after the War. As such, how the Chinese intellectuals of that period embraced multiculturalism as a mean of practice, to participate in the imagination of a Malayan nation, is a topic worth revisiting.  相似文献   

18.
Abstract

This article examines the way in which seemingly contradictory positions of populism and cosmopolitanism are articulated in the development of the Japanese post‐Second World War fascination with overseas. Specifically, I analyze the writings of Ohashi Kyosen, a popular television entertainer, and investigate how a particular mode of subjectivity is expressed through his ideas of overseas leisure and retirement in his best‐selling book Kyosen: Choose Your Own Life (Kyosen: Jinsei no Sentaku) and related essays published around 2000. While the issue of subjectivity has been the central concern throughout modern Japanese history, earlier analyses have been focused on the critical writings of intellectuals. I argue that in order to understand the larger social impacts of the translation of subjectivity, we also need to examine how the issue is articulated in popular discourses. Ohashi’s popular writings suggest that the issue of subjectivity still haunts the contemporary everyday lives of many Japanese, and continues to be the key predicament for articulating a culturally meaningful model of ‘citizen’ in Japan. Ohashi’s writings raise questions about what it means to be an active agent of one’s life, and how to situate the self in the larger society. Through an analysis of Ohashi’s narratives, I first illustrate how subjectivity is negotiated through people’s demands for leisure and their concerns about retirement, both of which are entangled with their fascination with overseas. Second, I examine Ohashi’s narratives as an expression of the paradoxical position of the Japanese citizenry conditioned by the US–Japan political, economic, and military coalition. I discuss how the predicament of articulating Japanese subjectivity reflects this paradoxical position under the legacy of Cold War geopolitics in Asia.  相似文献   

19.
Abstract

Philippine Cinema, one of the oldest and richest cinemas in Southeast Asia, is currently undergoing a facelift. ‘Indie’, the short form for independent, has become a popular buzz word in the local media as well as in film circles. This report focuses on the current state of independent feature‐filmmaking in the Philippines, compares it briefly to its past, highlights some of the key figures that have propelled it to its present, and proposes the main area wherein development is needed for it to progress further.  相似文献   

20.
Fourteen Landing Zones: Approaches to Vietnam War Literature. Philip K. Jason, editor From Hanoi to Hollywood: The Vietnam War in American Film. Linda Ditmar and Gene Michaud, editors America Rediscovered: Critical Essays on Literature and Film of the Vietnam War. Ed. Owen W. Gilrnan, Jr. and Lorrie Smith  相似文献   

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