Review of: Japan, 1972: Visions of Masculinity in an Age of Mass Consumerism, Yoshikuni Igarashi (2021) New York: Columbia University Press, 366 pp., ISBN 978-0-23119-555-3, p/bk, $35.00
{"title":"Japan, 1972: Visions of Masculinity in an Age of Mass Consumerism, Yoshikuni Igarashi (2021)","authors":"Thomas Baudinette","doi":"10.1386/eapc_00081_5","DOIUrl":"https://doi.org/10.1386/eapc_00081_5","url":null,"abstract":"Review of: Japan, 1972: Visions of Masculinity in an Age of Mass Consumerism, Yoshikuni Igarashi (2021)\u0000New York: Columbia University Press, 366 pp.,\u0000ISBN 978-0-23119-555-3, p/bk, $35.00","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48304403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article investigates the cultural politics and identity discourses in the two East Asian reproductions of A Better Tomorrow (1986). Rethinking the power dynamics of a homogenizing transnationalism from a vantage point that is alternative rather than resistant, this article employs a critical approach that is interconnective instead of hierarchical to refocus on the local and the heterogeneous and argues that each remake renegotiates Woo’s cinematic heroism and retools it into the trope for nationhood and identity. The transnational circulation of John Woo’s classical hero narrative traces how heroism and its historical, cultural, political, gender and ideological connotations are renegotiated and reconfigured for unique representational purposes and sociopolitical agendas. As a politically charged, culturally specific and historically circumscribed concept, heroism is deceptively transcendental, in the sense that its definition and expression defy ideological abstraction and cognitive certitude. This elusiveness precludes a consensus on heroism in the remakes; instead, each film contributes to a shifting topography of cinematic heroism mapped by the intricate dynamics of identity, politics and nationhood. Thus, whereas the tragedy of fragmented brotherhood metaphorized, divided and fractured nationhood in Moo-jeok-ja, Tomorrow 2018 propagandized heroism by replacing violence-glorifying brotherhood with nationalist patriotism.
{"title":"Topography of cinematic heroism: The transregional remakes of A Better Tomorrow (1986)","authors":"Jinhua Li","doi":"10.1386/eapc_00064_1","DOIUrl":"https://doi.org/10.1386/eapc_00064_1","url":null,"abstract":"This article investigates the cultural politics and identity discourses in the two East Asian reproductions of A Better Tomorrow (1986). Rethinking the power dynamics of a homogenizing transnationalism from a vantage point that is alternative rather than resistant, this article employs a critical approach that is interconnective instead of hierarchical to refocus on the local and the heterogeneous and argues that each remake renegotiates Woo’s cinematic heroism and retools it into the trope for nationhood and identity. The transnational circulation of John Woo’s classical hero narrative traces how heroism and its historical, cultural, political, gender and ideological connotations are renegotiated and reconfigured for unique representational purposes and sociopolitical agendas. As a politically charged, culturally specific and historically circumscribed concept, heroism is deceptively transcendental, in the sense that its definition and expression defy ideological abstraction and cognitive certitude. This elusiveness precludes a consensus on heroism in the remakes; instead, each film contributes to a shifting topography of cinematic heroism mapped by the intricate dynamics of identity, politics and nationhood. Thus, whereas the tragedy of fragmented brotherhood metaphorized, divided and fractured nationhood in Moo-jeok-ja, Tomorrow 2018 propagandized heroism by replacing violence-glorifying brotherhood with nationalist patriotism.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44096013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Voices from the Underworld: Chinese Hell Deity Worship in Contemporary Singapore and Malaysia, Fabian Graham (2020) Manchester: Manchester University Press, 280 pp., ISBN 978-1-52614-057-9, h/bk, £80.00
{"title":"Voices from the Underworld: Chinese Hell Deity Worship in Contemporary Singapore and Malaysia, Fabian Graham (2020)","authors":"S. Sommers","doi":"10.1386/eapc_00071_5","DOIUrl":"https://doi.org/10.1386/eapc_00071_5","url":null,"abstract":"Review of: Voices from the Underworld: Chinese Hell Deity Worship in Contemporary Singapore and Malaysia, Fabian Graham (2020)\u0000Manchester: Manchester University Press, 280 pp.,\u0000ISBN 978-1-52614-057-9, h/bk, £80.00","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49493990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Hate Speech in Asia and Europe: Beyond Hate and Fear, Myungkoo Kang, Marie-Orange Rivé-Lasan, Wooja Kim and Philippa Hall (eds) (2020) Oxford: Routledge, 206 pp., ISBN 978-0-36720-900-1, h/bk, £120.00
{"title":"Hate Speech in Asia and Europe: Beyond Hate and Fear, Myungkoo Kang, Marie-Orange Rivé-Lasan, Wooja Kim and Philippa Hall (eds) (2020)","authors":"Joseph Yi","doi":"10.1386/eapc_00069_5","DOIUrl":"https://doi.org/10.1386/eapc_00069_5","url":null,"abstract":"Review of: Hate Speech in Asia and Europe: Beyond Hate and Fear, Myungkoo Kang, Marie-Orange Rivé-Lasan, Wooja Kim and Philippa Hall (eds) (2020)\u0000Oxford: Routledge, 206 pp.,\u0000ISBN 978-0-36720-900-1, h/bk, £120.00","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46182344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Made in Taiwan: Studies in Popular Music, Eva Tsai, Tung-Hung Ho and Miaoju Jian (eds) (2020) New York: Routledge, 289 pp., ISBN 978-0-81536-015-5, h/bk, $160.00
{"title":"Made in Taiwan: Studies in Popular Music, Eva Tsai, Tung-Hung Ho and Miaoju Jian (eds) (2020)","authors":"Greta Hagedorn","doi":"10.1386/eapc_00068_5","DOIUrl":"https://doi.org/10.1386/eapc_00068_5","url":null,"abstract":"Review of: Made in Taiwan: Studies in Popular Music, Eva Tsai, Tung-Hung Ho and Miaoju Jian (eds) (2020)\u0000New York: Routledge, 289 pp.,\u0000ISBN 978-0-81536-015-5, h/bk, $160.00","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42570531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article traces the evolution of the screen kiss and the discourse surrounding it in Republican Shanghai leftwing cinema in the 1930s. The period from the 1910s to the 1930s in semi-colonial Shanghai witnessed an influx of Hollywood motion pictures that featured the screen kiss. By the 1930s, the circulation of images of Hollywood screen kiss in semi-colonial Shanghai triggered erotic imagination, comparison with Hollywood norms and most importantly the desire to appropriate, if not to reproduce, Hollywood screen kisses despite censorship. Two Shanghai leftist films, Street Angel (Malu tianshi, Yuan 1937) and Crossroads (Shizi jietou, Shen 1937), released shortly before the second Sino-Japanese War in 1937, appropriated and subverted Hollywood representational conventions of the screen kiss, fulfilling both the entertainment and pedagogical functions of cinema by constructing a sexually desiring and potentially class-conscious subject with aspirations for free love and social betterment at a critical moment of national crisis.1
{"title":"The screen kiss in 1937: Re-reading Street Angel and Crossroads","authors":"Jessica Ka Yee Chan","doi":"10.1386/eapc_00063_1","DOIUrl":"https://doi.org/10.1386/eapc_00063_1","url":null,"abstract":"This article traces the evolution of the screen kiss and the discourse surrounding it in Republican Shanghai leftwing cinema in the 1930s. The period from the 1910s to the 1930s in semi-colonial Shanghai witnessed an influx of Hollywood motion pictures that featured the screen kiss. By the 1930s, the circulation of images of Hollywood screen kiss in semi-colonial Shanghai triggered erotic imagination, comparison with Hollywood norms and most importantly the desire to appropriate, if not to reproduce, Hollywood screen kisses despite censorship. Two Shanghai leftist films, Street Angel (Malu tianshi, Yuan 1937) and Crossroads (Shizi jietou, Shen 1937), released shortly before the second Sino-Japanese War in 1937, appropriated and subverted Hollywood representational conventions of the screen kiss, fulfilling both the entertainment and pedagogical functions of cinema by constructing a sexually desiring and potentially class-conscious subject with aspirations for free love and social betterment at a critical moment of national crisis.1","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49434503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Adopting the theoretical framework employed in Sinophone studies, this article focuses on Sinophone Malaysian filmmaker Chiu Keng Guan, whose films mark the revival of commercial Sinitic language filmmaking in Malaysia. Through textual analysis of Chiu’s two films The Journey (2014) and Ola Bola (2016), this article examines how the narratives and languages used in these Sinophone Malaysian films portray the place-based culture and experience of the Sinophone communities and other ethnic groups in Malaysia. It also looks at how ‘Chineseness’ is employed by Chiu as a strategy to construct a collective identity and memory for Sinophone community members in order to connect them with their cultural roots as well as generate interest in the film, as demonstrated in the film The Journey. The example of the movie Ola Bola is used to assess how the filmmaker Chiu, who is Malaysian Chinese, questions the idea of ‘national identity’ by twisting the film plot, which was itself inspired by a real event.
{"title":"Debating ‘Chineseness’ and ‘national identity’ in the Sinophone Malaysian films The Journey (2014) and Ola Bola (2016)","authors":"Hui-Yan Chew","doi":"10.1386/eapc_00062_1","DOIUrl":"https://doi.org/10.1386/eapc_00062_1","url":null,"abstract":"Adopting the theoretical framework employed in Sinophone studies, this article focuses on Sinophone Malaysian filmmaker Chiu Keng Guan, whose films mark the revival of commercial Sinitic language filmmaking in Malaysia. Through textual analysis of Chiu’s two films The Journey (2014) and Ola Bola (2016), this article examines how the narratives and languages used in these Sinophone Malaysian films portray the place-based culture and experience of the Sinophone communities and other ethnic groups in Malaysia. It also looks at how ‘Chineseness’ is employed by Chiu as a strategy to construct a collective identity and memory for Sinophone community members in order to connect them with their cultural roots as well as generate interest in the film, as demonstrated in the film The Journey. The example of the movie Ola Bola is used to assess how the filmmaker Chiu, who is Malaysian Chinese, questions the idea of ‘national identity’ by twisting the film plot, which was itself inspired by a real event.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66695373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Global Entanglements of a Man Who Never Traveled: A Seventeenth-Century Chinese Christian and His Conflicted Worlds, Dominic Sachsenmaier (2020) New York: Columbia University Press, 268 pp., ISBN 978-0-23118-753-4, p/bk, $26.00
{"title":"Global Entanglements of a Man Who Never Traveled: A Seventeenth-Century Chinese Christian and His Conflicted Worlds, Dominic Sachsenmaier (2020)","authors":"C. Joby","doi":"10.1386/eapc_00070_5","DOIUrl":"https://doi.org/10.1386/eapc_00070_5","url":null,"abstract":"Review of: Global Entanglements of a Man Who Never Traveled: A Seventeenth-Century Chinese Christian and His Conflicted Worlds, Dominic Sachsenmaier (2020)\u0000New York: Columbia University Press, 268 pp.,\u0000ISBN 978-0-23118-753-4, p/bk, $26.00","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43167942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this issue we are pleased to publish our second print symposium. Organized and edited by Ian Kerridge, Paul Komesaroff, Mal Parker and Elizabeth Peter, it draws together a range of expert perspectives on ethical issues at the end of life. These are illuminated by meditations on death and dying in the poetry of Les Murray and Kevin Hart. One of the aims of our regular symposia is to promote ongoing dialogue across the disciplines on specific themes, and we hope that readers are inspired to respond to the papers presented in this issue. We would also like to express our gratitude for the contributions made by two board members who have stepped down, for personal and professional reasons, in the past months. We thank Nikki Sullivan, an internationally known cultural studies expert, both for her contribution of the past few years and for generously suggesting an enthusiastic replacement—Samantha Murray. We are very pleased to welcome Samantha on to the board. We also thank Michael Selgelid for his contribution, particularly in co-editing the previous (special) issue of the JBI, and wish him well in his future endeavours. The special issue proved timely in its subject matter, going to press as the world grappled with the spread of the H1N1 virus. Finally, we welcome on board a new panel of legal experts from around the globe, who will be collaborating with Cameron Stewart on the regular section, Recent Developments: Timothy Caulfield, John Coggon, Sarah Elliston, Barry Furrow, Richard Huxtable, Trudo Lemmens, Ron Patterson, Shaun Pattinson, Jerome Singh, Tade Spranger and Laura Williamson. We are proud to present the first of these internationalized columns in this issue. Bioethical Inquiry (2009) 6:261 DOI 10.1007/s11673-009-9181-2
{"title":"Editorial","authors":"Ann Heylen, E. Vickers, K. Taylor-Jones","doi":"10.1386/eapc_00059_2","DOIUrl":"https://doi.org/10.1386/eapc_00059_2","url":null,"abstract":"In this issue we are pleased to publish our second print symposium. Organized and edited by Ian Kerridge, Paul Komesaroff, Mal Parker and Elizabeth Peter, it draws together a range of expert perspectives on ethical issues at the end of life. These are illuminated by meditations on death and dying in the poetry of Les Murray and Kevin Hart. One of the aims of our regular symposia is to promote ongoing dialogue across the disciplines on specific themes, and we hope that readers are inspired to respond to the papers presented in this issue. We would also like to express our gratitude for the contributions made by two board members who have stepped down, for personal and professional reasons, in the past months. We thank Nikki Sullivan, an internationally known cultural studies expert, both for her contribution of the past few years and for generously suggesting an enthusiastic replacement—Samantha Murray. We are very pleased to welcome Samantha on to the board. We also thank Michael Selgelid for his contribution, particularly in co-editing the previous (special) issue of the JBI, and wish him well in his future endeavours. The special issue proved timely in its subject matter, going to press as the world grappled with the spread of the H1N1 virus. Finally, we welcome on board a new panel of legal experts from around the globe, who will be collaborating with Cameron Stewart on the regular section, Recent Developments: Timothy Caulfield, John Coggon, Sarah Elliston, Barry Furrow, Richard Huxtable, Trudo Lemmens, Ron Patterson, Shaun Pattinson, Jerome Singh, Tade Spranger and Laura Williamson. We are proud to present the first of these internationalized columns in this issue. Bioethical Inquiry (2009) 6:261 DOI 10.1007/s11673-009-9181-2","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48022932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues that anime about musicians specializing in western classical music offers a vehicle for questioning normative narratives that tend to exclude East Asian musicians from classical music culture beyond tertiary education. This article explores how the series Forest of Piano, the 2018 anime adaptation of Makoto Isshiki’s manga, utilizes competing Romantic models of genius to negotiate the protagonists’ positions as East Asian musicians on the global stage. In the series, the idea that the spirit of a piece is bound to the composer’s relationship to a specific place competes with the idea of a Romantic genius that channels the transcendent universal music of the world-soul from Nature.
{"title":"Aspirational cosmopolitanism in classical music anime: Adapting Romantic legacies in Forest of Piano","authors":"Ruth Barratt-Peacock","doi":"10.1386/eapc_00060_1","DOIUrl":"https://doi.org/10.1386/eapc_00060_1","url":null,"abstract":"This article argues that anime about musicians specializing in western classical music offers a vehicle for questioning normative narratives that tend to exclude East Asian musicians from classical music culture beyond tertiary education. This article explores how the series Forest of Piano, the 2018 anime adaptation of Makoto Isshiki’s manga, utilizes competing Romantic models of genius to negotiate the protagonists’ positions as East Asian musicians on the global stage. In the series, the idea that the spirit of a piece is bound to the composer’s relationship to a specific place competes with the idea of a Romantic genius that channels the transcendent universal music of the world-soul from Nature.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43878856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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