Narrating Hong Kong

Thursday, February 23, 2006

Nationalizing Hong Kong (Feb 27)

1. Nation and history
1.1. The unity of nation relies on mapping and historical writing
-Making map: integrity of national territory (Chinese maps)
-Writing history: national heritage(民族傳統)

1.2. Subsuming all communities into the imagined COMMUNITY of nation
-One of the writing strategies is to put local histories into a grand narrative(宏大敘事/大論述).

2. Example I: Nationalizing New Territories People

2.1. Patriotism as a theme of “Hong Kong history”
-The colonial past of Hong Kong as an evidence of national humiliation.
-The colonial history of Hong Kong is a history of national struggle.

2.2. “Patriotic” historiography connects historical plots into a “proof” of Hong Kong’s patriotism.

2.3. Fact: in 1898, Britain forced the Chinese government to sign the Convention of Peking and lease 356 square miles of land south of Shenzhen River to the British government for ninety-nine years. In 1899, the local inhabitants fought severely against the British government.

2.4. “Patriotic history”: NT people’s resistance showed their patriotism

2.5. Alternative history: However, according to Elizabeth Sinn and Tsai, the local inhabitants resisted against the British government because they feared that the British government might interfere with their established rights and customs.

2.6. A missing part of history:
The following paragraphs printed on the steel gate of 吉慶圍 can illustrate their mentality twenty five years after the confrontation:
「… …清政府將深圳河之南隅,租與大英國。那時清政府未將明令頒布,故當英軍到時,各鄉無知者受人煽惑,起而抗拒,我圍人民,恐受騷擾,堅閉鐵閘以避之,而英 軍疑有莠民藏匿其間,遂將鐵閘攻破;… …現二十六年傳孫伯裘,代表本圍人眾,稟呈港政府,蒙轉達英京,將鐵門發還,照舊安設,以保治安,所有費用,由港政府支給,又蒙史督憲親臨敝村行奠基禮, 足見英國政府深仁大德,亦表現吾民對於英政府之誠心悅服矣。」(1925)

2.7. The flexibility of Hong Kong people's political loyalty (The people of the New Territories in the turn of the century)
-The NT local people seemed to be identifying themselves with their family, clan and village rather than “nation”.
-They attempted to protect their village autonomy from the threat of the foreign authority
-They were willing to submit to the colonial power and even cooperate with the people in power in order to maintain their autonomy.


4. Example II: Collaborationist nationalism (「勾結民族主義」)
4.1. Since the beginning of the colonial rule, there were a lot of Chinese helping the British people in trading, consulting, contacting local people, etc.. Although these compradors Chinese sided with the British colonialists, they showed their nationalism by supporting the revolutionaries led by Sun Yat-sen.

4.2. Patriotic history: Nationalist versus compradors
-Ho Kai and other Chinese elites were nationalists or compradors?

4.3. Tsai Jung Fang’s(蔡榮芳) historical works:《香港人之香港史》 and Hong Kong in Chinese History.
-Compradors (買辦): collaborationist nationalism
-Before 1911, Ho Kai and other Chinese elites had written public letters to call on the British government to cooperate with the revolutionaries to topple the Qing Dynasty. They believed that British interference into Chinese affairs would cause regeneration of this country.

“We must admit, however reluctantly, the weakness and inability of China by herself to reorganize her fragmentary army… … In suggesting therefore that China’s army should be organized under the English, I think that it will be seen that, apart from the nation’s friendliness, they have furnished examples both of India and Egypt that should have satisfied even the most sceptic minds” (Ho Tung China Mail Jan 23 1899)

“It is also clear that without external aid or pressure China is unable to effect her own regeneration. For obvious reasons – personal gain and aggrandizement – those who hold high office, those who constitute her ruling class, do not desire Reform; those in humble life, forming her masses, wish Reform, but are powerless to attain it. In this predicament, we venture to think that England, having the predominant interest in China, and being the country most looked up to and trusted by the Chinese, should come forward and furnish the assistance and apply the requisite pressure.” (Ho Kai and Wei Yuk 1899 “Letter to Rear-Admiral Lord Charles Beresford”)

4.5. Tsai’s plot of Chinese elites, such as Ho Kai, enables him to construct alternative story to the mainstream and patriotic one.

Ho Kai and The Hong Kong College of Medicine
Stanley Ho and Ho Tung



5. Example III: Fabricating history in movie (Once upon a time in China《黃飛鴻之男兒當自強》1992)
5.1. Analysis of characters
-Heros:
*Huang Feihong: a Chinese experiencing modern life
*Sun Yatsen: nationalist, revolutionary, westernized Chinese, ... ...

-Villains:
*"White Lotus Sect": Xenophobic Chinese, gangsters
*Officials: conservative, corrupted, bureaucratic, relentless, ... ...

5.2. Narrative analysis
Equilibrium I-Huang: a traditional Chinese man

Disequilibrium:
-Huang was fascinated by modern technology
-Conflict I: Revolutionaries versus the Qing Dynasty
-Conflict II: Lotus sect versus westernized people and westerners
-Huang rescued children and helped revolutionaries
-Huang defeated the officials and White Lotus Sect

Equilibrium II-(Westernized) Chinese children and Sun were saved.

Viewpoint: Huang Feihong (Chinese/ China undergoing modernization)

5.3. Analysis of a plot:
-Western/modern medical science cooperates with traditonal Chinese medicine.
-"New-born" China: Chinese elites collaborated with westerners.

6. Multiplicity of identities and viewpoints (voices) in history
6.1. Hong Kong history cannot and should not be reduced to a single subject, no matter whether “Hong Kong” or “Chinese”.
6.2. The identities are situational and conditional, and always strategic for dealing with different problems. Likewise, their narratives cannot be combined into a single story line.
6.3. History is not an accurate record of the past. It is always presented as narratives.
6.4. Cultural politics: History is a contested terrain of ideological struggles.

7. Appendix: De-historicizing and de-contextualizing the nation
7.1. 心繫家國
7.2. A postmodern collage and pastiche of footages (more than 52 different shots)
萬里長城的日出桂林山水/塔/香港俯瞰/上海東方明珠塔/香港俯瞰/白衣少年在長城跑步/小學生跑步/紫禁城/運動員起跑/巴士 田野趕羊小孩子在農村跑步/一群香港年青人跟農村小孩唱歌/工人在工作海灘游冬泳/游泳比賽/嬰兒游泳/游泳比賽(奧運會?)/舞扇在石舫前跳舞長城舞刀香港消防員救火香港醫務人員女飛機師/兩名男子在商業大樓外/一名小女兩名小孩香港交通警指導一群幼稚園小孩過馬路火箭升空打籃 球煉鋼火車前進高速火車(上海?)/單車比賽/滑雪/划龍船/小孩打拳國內學生進行升旗禮/草原上兩人騎馬/草原上一人騎摩托車/飛機師在飛機前/演中國戲曲(京劇?)/草原起舞(蒙古人?)/小數民族姑娘起舞/演奏交響樂/兩名少女/一名長者/國內小孩向國旗敬禮一人在(故宮?)舞國旗/演奏交響樂/背景為五星旗區旗淡入淡出區旗與國旗國旗飄揚/打出「心繫家國,志在四方」字樣

Red: National flag
Brown: National symbols
Green: Ordinary life

7.3. De-contextualizing all signs.
7.4. Putting all signs under the rubic of "nation" and "homeland"
7.5. Purified history and the missing parts of history: Where is the "June 4 incident"?


Exercise A.
What are the differences between the meanings of "Hong Kong" in the following two paragraphs (Both were written by Qishan〔琦善〕)? What is the significance of these differences to writing the history of Hong Kong?

「奴 才先訪得該夷求請地方,請所垂涎 者,一係粵省之大嶼山,一係海島,名為香港,均在老萬山以內,距澳門不遠。伏查大嶼山袤延數百里,地居險要,早經建築炮台,設有守備。即香港亦寬至七八十 里,環處眾山之中,可避風濤,如或給與,必致屯兵聚糧,建台設炮,久之必覬覦廣東,流弊不可勝言。」(琦善上奏道光,1840.12.19,馬金科 1997217

「查香港離省四百六十里,孤懸海外,較澳門為尤遠,衹係全島中之一隅,其餘毗連者,又名大潭,又名裙帶路,又名赤柱,又名紅香爐。若就全島而論,東西約長五十里,南北約寬二十里。專就香港而論,東西約十里,南北約五里。島內間有民房田盧,較之別島為少。」(琦善上奏道光,1841,馬金科 1997217

Exercise B
“Hong Kong has no precolonial past to speak of. It is true that in a sense Hong Kong did have a history before 1841, when it was ceded to the British; there are records of human settlement on the island going back at least to the Sung dynasty; but the history of Hong Kong, in terms that are relevant to what it has become today, has effectively been a history of colonialism.” (Ackbar Abbas 1997: 2)

Do you agree with Abbas? Why?

Sunday, February 19, 2006

Nationalizing Hong Kong (Feb 20)

1. Nationalism (國/民族主義)and ideology
1.1. Nationalist movement is an ideological and political movement pursuing political and cultural sovereignty.

1.2. It is mostly organized and led by elites and intellectuals.

1.3. Two traditions:
-France: republic tradition and people's sovereignty
-Germany: cultural nationalism based on common blood ties, language, custom, ... ...

2. Nationalism and imagined communities (想象共同體,Benedict Anderson)
2.1. Four characteristics of national imagination:
-Despite the limitation of individual's experience, one is attached to a large sense of community.
-Yet most imagined nations are geographically bounded within admistrative territories.
-It is imagined as a sovereign and independent power.
-It subsumes all other communities (imagined or geographical) within its territory.

2.2. The means of imagination
-Common and vernacular language
-Sense of simultaneity within a boundary
-Historical narratives

2.3. Mass media play an important role in national imagination
Examples: Cantonese soap opera and popular song

References: Benedit Anderson《想像的共同體 : 民族主義的起源與散布》

3. Hong Kong and nationalism in the post-war era (50s and 60s)

3.1. Pro-communist organization versus pro-KMT organization

3.2. A strong sense of belonging to the "motherland"

3.3. National imagination and anti-colonial sentiment
Example: 《細路祥》(導演/馮峰)

4. The rise of "Hong Kong" as an imagined community (70s) 

4.1. After the riot of 1967, the influence of political nationalism is in decline.

4.2. Historical background:
-The regime of MacLehose: Public housing and ICAC
-Economic recovery from the oil and financial crisis (after 1973).

4.3. The local cultural industry was flourishing in the 1970s

4.4. Cultural nationalism became popular (Bruce Lee's movies).
References: 呂大樂<自成一體的香港社會>
增田真結子<從《中國學生周報》電影版看六十年代香港文化身份的形成

5. "Hong Kong" in the shadow of national sovereignty

5.1. Historical background:
-The anxiety over Hong Kong's future (before the Sino-British Joint Declaration)
-The economic reform and open policy

5.2. Hong Kong as a way of life
「香港的現行社會、經濟制度不變;生活方式不變。」
"The current social and economic systems in Hong Kong will remain unchanged, and so will the life-style."

5.3. Hong Kong and political autonomy
「民族回歸,民主治港」、「高度自治」(a high degree of autonomy)

5.4. New cultural nationalism
Examples: 無線:汪明荃的「勇敢的中國人」;亞視:《大俠霍元甲》與《陳真》

5.5. Feeling of insecruity: "being threatened" by China and "being abandoned" by Britain
Example: 《省港旗兵》(1984)and《省港旗兵續集》(1987)


6. 1989:Tiananmen Massascre

6.1. The violence of the Chinese nation-state

6.2. The mass rally in Hong Kong (One million people took to the street)

6.3. Patriotism and democratic movement (支聯會:香港市民支援愛國民主運動聯合會)

6.4. "A traumatic plot" in narrating Hong Kong: The violence of Chinese Communist Party
Example: John Woo's Bullet in the Head (喋血街頭, 1990) and Taylor Wong's Stars and Roses (愛人同志, 1990)

6.5. Some common features of this plot:
-The state violence in the eyes of Hong Kong people
-An unexpected and unprecedented incident
-Sympathetic (支援) and alienated/fear
-Helpless

7. Local identity (1989-1997)

7.1. Rewriting Hong Kong history by the Beijing government and pro-Beijing scholars

7.2. Intellectual and literary discussion: Pursuing local and unique identities: ambivalent, hybrid and in-between.
Examples:《狂城亂馬》(1996, 心猿)、《今天:香港專輯》(1995)

7.3. Exploring Hong Kong experiences in popular culture
-Tsui Hak's Once upon a time in China〔《黃飛鴻》系列, the early 1990s〕: Creating parables of "Hong Kong"
-Wong Kar-Wai's Chung King Express[1994]: A place and time in transition (RES AVE 987.83 2044
-Fruit Chan's Made in Hong Kong[1997]: The death of "Hong Kong's way of life"(RES AVE 987.83 2323
-Peter Chan's Comrades--Almost a Love Story[1997]: Hong Kong identity in exile (AVE 987.83 2433

8. The spread of official nationalism and patriotism (1997-)

References
彭定康1998《 東方與西方 : 彭定康治港經驗》台北:時報
Patten, Chris. 1998. East and west : the last governor of Hong Kong on power, freedom and the future . London: Macmillan.
葉錫恩1995《葉錫恩自傳》香港:明報

Thursday, February 09, 2006

Narrative analysis (Feb 13)

1. Social convention and narrative
1.1. The way of organizing cultural signs
1.2. Convention: association of signs
1.3. Convention is not necessarily about reality but symbolic construction.
1.3. Synchronic association (共時性的聯繫)
Example: Breast-slim legs-smile-confidence-... ...
1.4. Temporal association(歷時性的聯繫): Signs are organized according to time sequence
1.5. A narrative(敘事) is a structured sequence of events in time.

Example I: Body slimming
Social convention: The power of body-slimming knowledge and service
bodyperfect_adv02











Example II: Hong Kong from a fishing village to a metropolis
Social convention: The belief in progress

2. Pleasure (快感) and desire (慾望)
2.1. Pleasure:
Satisfcation from following time sequence and reaching the closure of the story.
2.2. Desire:
The impulse to follow the narrative and to reach its closure.

3. Character analysis (Vladimir Propp, Russian critic and folklorist)
3.1. Role analysis
-The roles in the story are representing social groups.
-Metaphorical or metonymic analysis
3.2. Functions (patternized plots)

Example: A story about extra-marital affairs

Role I: Husband-Employed, public, middle-aged, smart, active ... ...
Role II: Wife-Housewife, private, middle-aged, diligent, passive... ...
Role III: Mistress-Single, young, public, active, ... ...

Function I: Problems in marriage
Function II: Husband had a crush on mistress
Function III: Wife found the affairs
Function IV: Breakup
Function V: The conflict between mistress and husband
Function IV: Reunion

Convention: The order of nuclear family


Example: Princess Diana
Role of Diana-"Cinderella"
Role of Charles-Prince

Convention: Romance-Fairy tale






4. Equilibrium-Disequilibrium-Equilibrium (Tzvetan Todorov, Bulgarian structuralist linguist)
4.1. Most stories go through these three stages.
4.2. Equilibrium: beginning and end without conflict
4.3. Disequilibrium: conflict

Example: Shaolin soccer
Equilibrium I: Underclass, failure
Disequilibrium: Recruting team members, Training and competing with other football teams, ... ...
Equilibrium II: Football star, success

4.4. Whose equilibrium and disequilibrium?

5. Narrator's viewpoint(敘事者觀點) and narratee (接受敘事者)
5.1. Story is always told by somebody and for somebody else.
5.2. One or some characters dominate the time sequence of the story.
5.3. The dominant viewpoint is imposed on the voices of other characters.
Example: Whose story is Infernal Affairs? Two men's story.
Example: Whose story is Election?Men's story
5.4. But narratee might not accept the narrator's viewpoint.
Example: 《阿旺新傳》:The story of Ah Wong or Ah Ho?





6. Narrative analysis of an advertisement of beer (咁至係生力/新鮮)
6.1. Roles: Men (waiting for girls) and a "sexy girl" (impersonated by a man)
6.2. Functions/ formulas: Men's talk, a sexy girl is approaching, a man has a crush on a woman, a romance, a joke... ...
6.3. Desire:
-Following conventional formulas and men's desire
6.4. Pleasure:
-Arriving at an unconventional closure
6.5. Equilibrium(Men's circle)-->Disequilibrium (a sexy girl is approaching the men)-->Equilibrium (A man is "captured" and laughed)
6.6. Repeating male-centric convention and breaking convention
6.7. Men's viewpoint is dominating the storyline.
6.8. Beer is a metaphor of men's desire and something funny.

7. Narrative, convention and dominant discourse
7.1. Some narrative structures are repeated and repeated in our society.
7.2. Narrative <---> convention
7.3. Discourse is set of textual arrangements which organizes and co-ordinates the actions, positions and identities of the people who produce it.
7.4. Conventional narratives become part of the dominant discourses.
7.5. Negotiated narrative: narratees might challenge and re-narrate the conventional narratives.


Further references
Narratology
Branston. Chapter 3 "Narration"
Thwaites, Tony and Lloyd Davis and Warwick Mules. 1994. Tools for cultural studies: An introduction. Melbourne: Macmillan, Chapter 6 "Narrative".

Due Dates

Due Date for Assignment I: March 13
Due Date for Assignment II: April 24

Saturday, February 04, 2006

拾香紀1974-1996

書名:拾香紀1974-1996
作者:陳慧
定價:HK$55(九折)

Thursday, February 02, 2006

Feb 6: Basics of Semiotics

1. Narrating Hong Kong and media representation
1.1. Narrating=telling stories
1.2. Story-telling is not only individual but also collective and institutional.
1.3. Media is one of the major modes of narrative in the contemporary society.
1.4. From a semiotic perspective, media is a process of producing cultural signs.
1.3. Narrative is linguistic -- a way of organizing cultural signs (units carrying meaings).

Wong
is a "Story of Hong Kong"?


2. The fundamental assumptions of semiotics
2.1. Two conventional models for understanding language:
2.1.1. Language as a reflection of the world -- "objectivist"
2.1.2. Language as based in the intentions of the 'author' -- "subjectivist"
2.2. Semiotics rejected both these models and made an inter-subjective emphasis:
-Language is relevant to the world but not reflection of the world.
-Language is both constructed and inherited.
-Language is public but full of contestation.

3. Signifier/ Signified
3.1. Sign: Signifier(意符)/ Signified(意旨)
-Signifier: the sensory impression of the sign: the mental image of marks on a page, or of sounds in the air, for example.
-Signified: the abstract concept the sign invokes.
3.2. Sign functions as signification(意旨作用).
signifier01
signifier02
signifier03

3.3. Example: Is the anti-WTO protest a riot?

Signifier A: Conflict
Signified A: Violence (wielded by demonstrators)

Signifier B: Violence
Signified B: chaos

Signifier C: Chaos
Signified C: Riot
... ...

Photos of police violence


Making use of photos, making up news story


3.4. The relationship between signifier and signified
-The relationship between them is conventional but arbitrary
-A signified might become another signifier.
-Social convention is constituted by the organization of signs.

Further information:
Semiotics-Saussure


4. Denotation(內涵) and Connotation(外延)
















4.1. What does this photo signify?
4.2. Connotation: The set of its possible signifieds.
-The first possible signified:
The repression of the people by the state.
People's resistance and their voice for democracy.
-The second possible signified:
The People's Army is very kind to people. The tanks stopped immediately even though a man blocked their way.

4.3. Denotation: The most stable and apparently verifiable of its connotations.
-A man stood in front of the tanks.
References: The controversy over the incident of June 4
4.4. The conflicts between different signifieds corresponds with power relationship.

5. Metaphor(隱喻) and metonym(轉喻)
5.1. Metaphor is an implicit or explicit comparison between signs.
-Example: “McDonald's”, “Youth”, "Energetic", "Fun", "Happiness" and "Natural"
5.2. Metonym is a sign associated with another of which it signifies either a part, the whole, one of its functions or attributes, or a related concept.
-Example: “Focaccia”=>"herb", ”grass”, "fresh" and "natural"
5.3.Signs are interrelated with one another in metaphorical and metonymical way as social convention.
"McDonald's"<-->"Youthfulness"<-->"Freshness"<-->"Naturalness"

6. Representation and Stereotype

6.1. From the semiotic perspective, the reality and media is representational (再現/呈現的).
6.2. The implications of representation
-Media always repeat certain formulae.
-Media is a construction rather than a window opening to the reality.
-It leads us to pay attention to how different social groups are portrayed by media.
6.3. Example: Gender differencesstereotype
-How can you tell which of the characters is male and which female?
-Which part of the drawing told you?








6.4. Stereotyping (核板印象化)
-A stablized relationship between signifier and signified/ signifier
-Stereotypes involve a group of people (woman, welfare recipients, black people, poor people, ... ...)
-Stereotyping often leads to discrimination
Example: An advertisement of Virgin Atlantic and homophobia: Romantic story only belongs to heterosexual people?

7. Cultural politics (文化政治)
7.1. Conflicts between meanings/ signifieds (The photo about the incident of June 4).
7.2. Convention and stereotype constrain people's self-understanding, world view and everyday practices.
7.3. Identities: contested interaction between media representation (stereotypes) and individual/ collective construction.


References
Branston, Gill. 2003. The Media Student's Book. London and NY: Routledge, Chapter 1.( RES 302.23 BRAN 2003 c.2)
Fiske, John. 1990. Introduction to Communication Studies. London and New York: Routledge, Chapter 3 and 5.(RES 001.51 F541i 1990 )
費斯克《传播符号学理论》导读
李幼蒸<略谈电影符号学的美学认识论问题

Next week
How to analyze the organization of cultural signs and write a narrative... ...