Colonial Mobility and Ambiguity: The Life of Filmmaker Hinatsu/Huyung

2017 ◽  
Vol 5 (2) ◽  
pp. 197-215
Author(s):  
Thomas Barker
Keyword(s):  
Entry Point ◽  
Prior Work ◽  
National Cinema ◽  
Japanese Occupation ◽  
Complex Idea ◽  
Subject Positions ◽  
Post Colonial ◽  
Arts And Culture ◽  
History Of ◽  
Incomplete Assessments

AbstractColonial subjects caught up supporting colonialism have often been seen as either engaging in an encounter of ambivalence or seen as traitors in post-independence nationalist historiography. Rather than following this established binary of possible subject positions, this article considers the unique biography of a filmmaker known in Indonesia as Dr Huyung. Prior work on Dr Huyung has either considered the pre and post 1945 stages of his life in isolation thus making incomplete assessments of his life and contributions. By bringing these two periods into conversation, a complete biography enables a more complex idea of colonial subjectivity to emerge. Huyung's life provides an alternative history of colonialism and an entry point in which to interrogate the limits and opportunities available in Asia of the 1930s to 1950s.This article traces the life of Dr Huyung from his birth in Korea as Hoe Yong, his life under Japanese occupation when he became Hinatsu Eitaro and moved to Japan to study film, to Indonesia as a Japanese propaganda officer, and finally to a new identity as Dr Huyung in independent Indonesia. As a trans-national subject operating across multiple subject positions – including colonial subject, colonial agent, and supporter of independence – this article challenges how subjectivity is thought about under colonialism and the historiography of national cinema in Indonesia, and contributes to understand his role in helping define and shape arts and culture in post-colonial Indonesia.

White Zombie as Captivity Narrative and the Death of Certainty

2020 ◽  
Vol 2 ◽  
pp. 19-25
Author(s):  
Mark C Anderson
Keyword(s):  
American Indians ◽  
American Slavery ◽  
Captivity Narrative ◽  
Early American ◽  
Arts And Culture ◽  
History Of ◽  
American Black ◽  
The Caribbean ◽  
American Society ◽  
Black Other

Horror films such as White Zombie (1932) reveal viewers to themselves by narrating in the currency of audience anxiety. Such movies evoke fright because they recapitulate fear and trauma that audiences have already internalized or continue to experience, even if they are not aware of it. White Zombie’s particular tack conjures up an updated captivity narrative wherein a virginal white damsel is abducted by a savage Other. The shell of the captivity story, of course, is as old as America. In its earliest incarnation it featured American Indians in the role as savage Other, fiendishly imagined as having been desperate to get their clutches on white females and all that hey symbolized. In this way, it generated much of the emotional heat stoking Manifest Destiny, that is, American imperial conquest both of the continent and then, later, as in the case of Haiti, of the Caribbean Basin. White Zombie must of course be understood in the context of the American invasion and occupation of Haiti (1915-1934). As it revisits the terrain inhabited by the American black Other, it also speaks to the history of American slavery. The Other here is African-American, not surprisingly given the date and nature of American society of the day, typically imagined in wildly pejorative fashion in early American arts and culture. This essay explores White Zombie as a modified captivity narrative, pace Last of the Mohicans through John Ford’s The Searchers (1956), the Rambo trilogy (1982, 1985, 1988), the Taken trilogy (2008, 1012, 2014), even Mario and Luigi’s efforts to rescue Princess Peach from Bowser.

Setting the Stage

2017 ◽  
Author(s):  
Fred L. Borch
Keyword(s):  
World War Ii ◽  
Japanese Occupation ◽  
East Indies ◽  
Indonesian Archipelago ◽  
Ethical Policy ◽  
Netherlands East Indies ◽  
History Of ◽  
Colonial Economy ◽  
The Impact

Explores the role of the Dutch in the Indies from 1595, when sailors from Amsterdam first arrived in the islands, to 1942, when the Japanese invaded the colony and inflicted a devastating defeat upon the Dutch. The history of the Dutch in the Indonesian archipelago is critical to understanding the impact of the Japanese occupation after 1942, and the nature of the war crimes committed by the Japanese. This is because the ultimate goal of the Japanese occupiers was to erase all aspects of Dutch culture and influence the islands. The chapter begins with an examination of the early Dutch settlement of the islands, and the development of the colonial economy. It then discusses the so-called “Ethical Policy,” which sought to unify the islands under Dutch rule and implement European ideas about civilization, culture, and prosperity. The chapter looks at the colony’s social structure prior to World War II and closes with a discussion of the colony’s preparations for war with the Japanese in 1942. A short postscript explains what occurred between August 1945, when the Japanese surrendered, and December 1949, when the Netherlands East Indies ceased to exist.

Jumbos and Jumping Devils

2020 ◽  
Author(s):  
Nisha P R
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
South Asia ◽  
Social History ◽  
Post Colonial ◽  
The Social ◽  
Wide Range ◽  
History Of

Jumbos and Jumping Devils is an original and pioneering exploration of not only the social history of the subcontinent but also of performance and popular culture. The domain of analysis is entirely novel and opens up a bolder approach of laying a new field of historical enquiry of South Asia. Trawling through an extraordinary set of sources such as colonial and post-colonial records, newspaper reports, unpublished autobiographies, private papers, photographs, and oral interviews, the author brings out a fascinating account of the transnational landscape of physical cultures, human and animal performers, and the circus industry. This book should be of interest to a wide range of readers from history, sociology, anthropology, and cultural studies to analysts of history of performance and sports in the subcontinent.

The Oxford History of the Novel in English

2018 ◽  
Keyword(s):  
World War Ii ◽  
English Language ◽  
Book History ◽  
World Order ◽  
The United States ◽  
The Novel ◽  
History Of The Novel ◽  
Post Colonial ◽  
The World ◽  
History Of

Volume Nine of this series traces the development of the ‘world novel’, that is, English-language novels written throughout the world, beyond Britain, Ireland, and the United States. Focusing on the period up to 1950, the volume contains survey chapters and chapters on major writers, as well as chapters on book history, publishing, and the critical contexts of the work discussed. The text covers periods from renaissance literary imaginings of exotic parts of the world like Oceania, through fiction embodying the ideology and conventions of empire, to the emergence of settler nationalist and Indigenous movements and, finally, the assimilations of modernism at the beginnings of the post-imperial world order. The book, then, contains chapters on the development of the non-metropolitan novel throughout the British world from the eighteenth to the mid twentieth centuries. This is the period of empire and resistance to empire, of settler confidence giving way to doubt, and of the rise of indigenous and post-colonial nationalisms that would shape the world after World War II.

The Musicality of Canadian Cinema

2019 ◽  
pp. 390-408
Author(s):  
Michael Brendan Baker
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
National Cinema ◽  
Avant Garde ◽  
Institutional Forces ◽  
History Of ◽  
Narrative Account

This chapter offers a narrative account of music in Canadian cinema that highlights the contributions of its pioneers. Case studies spanning the critically acclaimed, the curious, and the marginalized allow for an effort to flesh out the place of music, particularly popular music, in this national cinema. While the esthetics and dollars-and-cents of music in film may be similar in Canada as elsewhere, the expectations of filmmakers and audiences are perhaps uniquely Canadian as a result of industrial and institutional forces. Animation, the avant-garde, and documentary are particularly vibrant spaces for the innovative use of music and differentiate the history of music in Canadian cinema from other more commercially oriented contexts.

Indexicality of Grammar: The Case of Japanese Transgender Speakers

2019 ◽  
Author(s):  
Hideko Abe
Keyword(s):  
Gender Identity ◽  
Gender Identity Disorder ◽  
Grammatical Gender ◽  
Core Structure ◽  
Subject Positions ◽  
Transgender Identity ◽  
The Core ◽  
History Of ◽  
History Of Scholarship ◽  
Grammatical Structures

This article discusses how the intersection of grammatical gender and social gender, entwined in the core structure of language, can be analyzed to understand the dynamic status of selfhood. After reviewing a history of scholarship that demonstrates this claim, the discussion analyzes the language practices of transgender individuals in Japan, where transgender identity is currently understood in terms of sei-dōitsusei-shōgai (gender identity disorder). Based on fieldwork conducted between 2011 and 2017, the analysis reveals how individuals identifying with sei-dōitsusei-shōgai negotiate subject positions by manipulating the specific indexical meanings attached to grammatical structures.

Impact of the 2020 crises on the arts and culture in the United States: The effect of COVID-19 and the Black Lives Matter movement in historical context

2020 ◽  
Vol 27 (4) ◽  
pp. 449-465
Author(s):  
Stanley N. Katz ◽  
Leah Reisman
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Cultural Organizations ◽  
Black Lives Matter ◽  
The Arts ◽  
Arts And Culture ◽  
History Of ◽  
Cultural Sector ◽  
The Impact

AbstractThis article discusses the impact of the COVID-19 pandemic and the Black Lives Matter movement on the arts and cultural sector in the United States, placing the 2020 crises in the context of the United States’s historically decentralized approach to supporting the arts and culture. After providing an overview of the United States’s private, locally focused history of arts funding, we use this historical lens to analyze the combined effects of the pandemic and Black Lives Matter movement on a single metropolitan area – Philadelphia, Pennsylvania. We trace a timeline of key events in the national and local pandemic response and the reaction of the arts community to the Black Lives Matter movement, arguing that the nature of these intersecting responses, and their fallout for the arts and cultural sector, stem directly from weaknesses in the United States’s historical approach to administering the arts. We suggest that, in the context of widespread organizational vulnerability caused by the pandemic, the United States’s decentralized approach to funding culture also undermines cultural organizations’ abilities to respond to issues of public relevance and demonstrate their civic value, threatening these organizations’ legitimacy.

scholarly journals Matrices of ‘Love and Theft’: Joan Baez Imitates Bob Dylan

2021 ◽  
pp. 1-31
Author(s):  
MIMI HADDON
Keyword(s):  
Final Section ◽  
Theoretical Work ◽  
First Century ◽  
Post Colonial ◽  
The Third ◽  
Bob Dylan ◽  
Colonial Theory ◽  
History Of ◽  
Asymmetrical Power ◽  
American Popular Music

Abstract This article uses Joan Baez's impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse converge. The article is organized in three parts. The first part addresses the musical details of Baez's acts of mimicry and their uncanny ability to summon Dylan's predecessors. The second considers mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism.

Colonial vindications. More on the history of South African prehistoric research

2003 ◽  
Vol 10 (1) ◽  
pp. 42-55
Author(s):  
Nathan Schlanger
Keyword(s):  
South African ◽  
Indigenous Populations ◽  
Substantial Part ◽  
Economic Potential ◽  
African Archaeology ◽  
Post Colonial ◽  
Colonial Archaeology ◽  
History Of ◽  
Power Games

Together with the welcome insights they have brought to the matters at hand, the archaeological dialogues here engaged have certainly made me appreciate where my claims could be modified and my arguments amplified. Since I have already been taxed with a questionable insistence on setting the record straight, and with a penchant for academically coup de poing-ing my way through the archaeological establishment and its established historiography, I may as well persevere and thank the commentators for helping me grasp the following key point: what has been motivating a substantial part of my investigations, I can now better specify, is a growing unease with the well-established paradigm of ‘colonial vindication’. This is not, let me hasten to add, a reference to the genuine injustice done to those indigenous populations whose pasts have been expropriated and denigrated by the colonizing powers (i.e. Trigger's sense of ‘colonial archaeology’). Likewise, there is obviously no denying that the globalization of archaeology in the colonial and post-colonial eras has entailed considerable intellectual and institutional struggles, alongside innumerable power games, financial calculations and scientific compromises – and here Shepherd is surely right to give as example the ‘cradle of humanity’, a shifting zone whose ideological, diplomatic and economic potential Smuts had already fully sized in the 1930s (cf. Schlanger 2002b, 205–6). Rather, what I wish here to open to scrutiny is this apparently long-standing notion that South African archaeology has been systematically ‘done down’, ‘passed over’ and ‘badly used’ (Shepherd's terms) by the metropole – making it quite evident that its history, if not its ethos, should be primarily geared towards securing due recognition and redress.

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