During my undergraduate years, I gradually developed the aspiration to pursue an academic career in the humanities through my training in cultural studies at Tongji University (Shanghai) and more importantly, the exchange study of Taiwanese literature at National Cheng Kung University in Taiwan. In addition to furnishing me with a better understanding of Taiwanese history and culture, the experience spurred me to reflect on “China” as a contested concept, a multivocal narrative, and a monolithic hegemony calling for deconstructive intervention. After graduation, I came to Duke University to further my training in cultural studies and critical theory. To address the most captivating problem that fuels my academic probe, I am concerned with how …show more content…
7 (2008), Seediq Bale (2011), and Kano (2014). I am developing this project towards the master’s thesis by considering the following issues. First, I investigate the de-historicization and aestheticization of the Japanese colonial period in Cape No. 7 and Kano in which the cross-ethnic intimacy or fraternity articulates melancholic desire of national subjectivity and underlying anxiety of the globalization and rising China. Second, based on a three-pronged examination of the social space of screening, inter-subjective visual relationship, and linguistic heterogeneity of Seediq Bale, I examine how the aboriginal people’s history is usurped at the service of the Taiwanese nation building agenda dominated by Han Chinese. Third, inspired by Fiery Cinema by Weihong Bao, I intend to delineate a “mediating environment” centered on the three films as new national cinema, where media, intellectual discourse, and affect correlate with each other, and where the national imagination is complicated. I will disentangle and interrogate intersecting media effects such as epistolary confession and radio broadcast in these films, as well as intellectual practices (both discursive and non-discursive) regarding the nation and engaging with these films. Through the analysis, I deem contemporary Taiwanese nation building as a paradoxical dyad. In the long-term resistance against the haunting Japanese colonial legacy, remaining KMT authoritarianism, and rising Chinese imperial agency, the risk of internalizing and reenacting the same dispositif of them constantly
Jonathan Spence tells his readers of how Mao Zedong was a remarkable man to say the very least. He grew up a poor farm boy from a small rural town in Shaoshan, China. Mao was originally fated to be a farmer just as his father was. It was by chance that his young wife passed away and he was permitted to continue his education which he valued so greatly. Mao matured in a China that was undergoing a threat from foreign businesses and an unruly class of young people who wanted modernization. Throughout his school years and beyond Mao watched as the nation he lived in continued to change with the immense number of youth who began to westernize. Yet in classes he learned classical Chinese literature, poems, and history. Mao also attained a thorough knowledge of the modern and Western world. This great struggle between modern and classical Chinese is what can be attributed to most of the unrest in China during this time period. His education, determination and infectious personalit...
Smarr, Janet. “Emperor Wu”. Making of the Modern World 12. Ledden Auditorium, La Jolla, CA. 17 Feb. 2012. Lecture.
Schoenhals, Michael. China's Cultural Revolution, 1966-1969: Not a Dinner Party. Armonk, NY: M.E. Sharpe, 1996. Print.
For several decades, since the death of Mao Zedong, dissidence among the public has increased against the single-party system of Mao’s Chinese Communist Party, or CCP. The CCP, which Mao co-founded, has ruled China since 1949 with little or no opposition party. The ruling party has long crushed dissent since its founding. Three authors have looked into the dissidence. The first is Merle Goldman in her analytical essay of the intellectual class in China entitled “China’s Beleaguered Intellectuals” (2009). In this essay, Goldman focuses on the intellectuals’ struggle for political and intellectual freedom from the CCP. Goldman’s view for the future of China is one containing more political freedoms. On the other hand, Andrew G. Walder’s critical essay “Unruly Stability: Why China’s Regime Has Staying Power,” (2009) refutes Goldman’s claim that China’s intellectuals have the ability to change domestic policy. He argues that, while political dissent has become more commonplace, the CCP and authoritarian control is here to stay. The third author, Philip P. Pan and his novel Out of Mao’s Shadow: The Struggle for the Soul of a New China (2008) has a more neutral tone and shows both the side of the intellectuals and the CCP. This paper will use Pan’s book in order to determine which view, either Goldman’s or Walder’s, is correct.
China has gone through many changes in its history. Changes include economic, political, and social. In the early 1500 and throughout history, mostly all social classes followed Confucianism. Confucianism is a type of religion based on an ideal society (Chang 2012, 22). China was molded though Confucianism but that slowly deteriorated as years went on. One main group that has been a main part in these changes is the Chinese literati. The Chinese literati include the higher-class people such as officials and scholars. The Chinese literati were the dominant social class during the 1500’s but their power slowly decreased throughout history. Throughout my paper, I will explain the Chinese literati involvement as centuries passed.
Chan, Sucheng. Chinese American Transnationalism : The Flow of People, Resources, and Ideas Between China and America During the Exclusion Era. Philadelphia, PA, USA: Temple University Press, 2005. Web.
This analysis draws focus on the differences between Hua’s novel and Zhang’s film by juxtaposing two key themes and dual-symbolism that had changed from one format to another. The paper is broken up into two parts and begins with an introduction and analysis of Yu Hua’s novel and Zhang’s film. Finally, the second part analyzes the film and novel’s representations of two themes and symbolism that tie in with the GPCR. This paper posits that while Zhang’s film does contain many adjustments based on its adaptation, those changes were not simply a means by which he would meet the status quo, rather they were a means by which the film could become more realistic and exploits the true nature of the GPCR.
Though contemporary media continues to create stereotypical images they can be contested and renegotiated through alternative and independent sources. In Renee Tajima’s essay “Moving the Image: Asian American Independent Filmmaking 1970-1990” she posits that artists of color will not sit in the center or margin of media but instead “as the links of a new cultural matrix” (MTI, 32). While traditional media continues to be constrained by dominant hegemonic representat...
The quest for identity quickly finds its place in the construction of the notion of ‘Hong Kong-ness’ in films. The local cinema has remained as a powerful cultural institution, both reflecting and intervening in the discourses of alterities and selfhood. It is therefore not surprising that in local films, the cinematic representations of Hong Kong have been seen as inextricably interwoven with the triangular relationship between the British coloniser, the Chinese motherland, and Hong Kong itself. Since its inception in the 1910s, the Hong Kong film industry has enjoyed much independence from colonial control, yet simultaneously much association with Western culture. Many films openly deal with the theme of ‘East meets West’ in which ‘Hong Kongese’ identity is often expressed in "transnational settings" against the existence of a Western Other, in particular through the portrayal of Westerners visiting Asia, and vice versa. After the handover, "Hong Kong" as a geopolitical en...
It can also be argued that the political activities of Chairman Mao’s Communist China were more of a continuation of traditional Imperial China, based heavily in Confucian values, than a new type of Marxist-Leninist China, based on the Soviet Union as an archetype. While it is unquestionable that a Marxist-Leninist political structure was present in China during this time, Confucian values remained to be reinforced through rituals and were a fundamental part of the Chinese Communist ...
Fu, Poshek, and David Desser, eds. The Cinema of Hong Kong. Cambridge, United Kingdom: Cambridge University Press, 2000.
African cinema has evolved in multiple facets since postcolonialism milieu. Post-nationalist African cinema has transformed into a more complex network that simultaneously incorporates both global and national issues alike. Modern post-nationalist films aim to aim to repudiate a homogenized notion African Cinema while highlight the diversities in African cinema, unlike antithetical early nationalist variants which portrayed a generalized African identity. These post-nationalist film makers advocate the need for utilizing new film languages and ideals suitable to the contemporary cultural, social, political and economic situations of different African countries. Certain developments have been instrumental to this gradual cinematic evolution
The representation of race in Hollywood cinema has been a widely discussed topic in film analysis since the medium’s inception. Historically, non-caucasian ethnicities have been underrepresented and/or misrepresented on the silver screen. It was normal for a white actor or actress to adorn themselves in black or yellowface to represent these races and further alienate them into the category of “the other”. This exclusion has been used time and time again as a tool for distinguishing not the race being alienated but those who are doing the alienation. In the following essay I aim to assess this phenomenon specifically in relation to representation of Asians in Hollywood cinema. To support my theory, I will put into conversation both Gina Marchetti’s essay, “White Knights in Hong Kong” and Anne Cheng’s essay, “Beauty and the Ideal Citizenship: Inventing Asian American in Rodgers and Hammerstein’s Flower Drum Song (1961)”. It was when asked to consider the question of national identity projected upon the bodies on screen as written about by Marchetti and Cheng that I came across my own thesis. Through their in depth analysis I was able to code an underlying theme in the historical representation of Asians in cinema. The theme in which Asian identity is derived through strategically situating them as “the other” in order to explain what it truly means to be an American.
... cannot be shared in the legal Chinese media. Moreover, despite the repeated refusal of the label “political poet,” political reading of his work remain an exasperating continual practice and fortunately for him, he cannot avoid being read by his Chinese readers against the social context of coeval China.
Every human being, in addition to having their own personal identity, has a sense of who they are in relation to the larger community--the nation. Postcolonial studies is the attempt to strip away conventional perspective and examine what that national identity might be for a postcolonial subject. To read literature from the perspective of postcolonial studies is to seek out--to listen for, that indigenous, representative voice which can inform the world of the essence of existence as a colonial subject, or as a postcolonial citizen. Postcolonial authors use their literature and poetry to solidify, through criticism and celebration, an emerging national identity, which they have taken on the responsibility of representing. Surely, the reevaluation of national identity is an eventual and essential result of a country gaining independence from a colonial power, or a country emerging from a fledgling settler colony. However, to claim to be representative of that entire identity is a huge undertaking for an author trying to convey a postcolonial message. Each nation, province, island, state, neighborhood and individual is its own unique amalgamation of history, culture, language and tradition. Only by understanding and embracing the idea of cultural hybridity when attempting to explore the concept of national identity can any one individual, or nation, truly hope to understand or communicate the lasting effects of the colonial process.