1. Wang Bing’s Cinematic Journey: A Counter-Narrative of the China Dream

2021 ◽  
Author(s):  
Elena Pollacchi

This chapter helps locate the geographical trajectory of Wang’s cinematic activities. It also introduces the broad concept of ‘space’ and its centrality in the discussion. By looking at the shooting locations over a map of China, the investigation of Wang Bing’s cinematic travelogue is set against the ongoing state narrative of the China Dream. This is a slogan that frames China’s rise. The author argues that Wang’s films can be understood as a counter-narrative that shows the less shiny side of China’s growth. They can also be loosely grouped according to different definitions of space: spaces of labour, spaces of history and memory, collective spaces, exhibition spaces, and spaces of human practice. Moreover, without losing their Chinese distinctiveness, the issues at stake in Wang’s films speak to a much larger global experience of marginal spaces and uneven development.


Author(s):  
Kathryn A. Sloan

Popular culture has long conflated Mexico with the macabre. Some persuasive intellectuals argue that Mexicans have a special relationship with death, formed in the crucible of their hybrid Aztec-European heritage. Death is their intimate friend; death is mocked and accepted with irony and fatalistic abandon. The commonplace nature of death desensitizes Mexicans to suffering. Death, simply put, defines Mexico. There must have been historical actors who looked away from human misery, but to essentialize a diverse group of people as possessing a unique death cult delights those who want to see the exotic in Mexico or distinguish that society from its peers. Examining tragic and untimely death—namely self-annihilation—reveals a counter narrative. What could be more chilling than suicide, especially the violent death of the young? What desperation or madness pushed the victim to raise the gun to the temple or slip the noose around the neck? A close examination of a wide range of twentieth-century historical documents proves that Mexicans did not accept death with a cavalier chuckle nor develop a unique death cult, for that matter. Quite the reverse, Mexicans behaved just as their contemporaries did in Austria, France, England, and the United States. They devoted scientific inquiry to the malady and mourned the loss of each life to suicide.


Author(s):  
Jim Donaghey

Punk’s resonance has been felt strongly here. Against the backdrop of the Troubles and the “post-conflict” situation in Northern Ireland, punk has provided an anti-sectarian alternative culture. The overarching conflict of the Troubles left gaps for punk to thrive in, as well as providing the impetus for visions of an “Alternative Ulster,” but the stuttering shift from conflict to post-conflict has changed what oppositional identities and cultures look like. With the advent of “peace” (or a particular version of it at least) in the late 1990s, this space is being squeezed out by “development” agendas while counterculture is co-opted and neutered—and all the while sectarianism is further engrained and perpetuated. This chapter examines punk’s positioning within (and against) the conflict-warped terrain of Belfast, especially highlighting punk’s critical counter-narrative to the sectarian, neoliberal “peace.”


2018 ◽  
Vol 36 (3) ◽  
pp. 267-285
Author(s):  
Aleksandra Bartoszko

This article offers a counter narrative to the current ethnographic studies on treatment with buprenorphine, in which notions of promised and experienced normality dominate. In some countries, introduction of buprenorphine led to a perceived “normalisation” of opioid substitution treatment, and this new modality was well received. However, in Norway the response has been almost the opposite: patients have reacted with feelings of disenfranchisement, failure, and mistrust. Based on ethnographic fieldwork in Norway, this article offers comparative insight into local experiences and subjectivities in the context of the globalisation of buprenorphine. By outlining the ethnographic description of the pharmaceutical atmosphere of forced transfers to buprenorphine-naloxone, I show that the social history of the medication is as significant as its pharmacological qualities for various treatment effects. An analysis of the reactions to this treatment modality highlights the reciprocal shaping of lived experiences and institutional forces surrounding pharmaceutical use in general and opioids in particular.


Author(s):  
Carol Mei Barker

“In China, what makes an image true is that it is good for people to see it.” - Susan Sontag, On Photography, 1971 The Olympic Games gave the world an opportunity to read Beijing’s powerful image-text following thirty years of rapid transformation. David Harvey argues that this transformation has turned Beijing from “a closed backwater, to an open centre of capitalist dynamism.” However, in the creation of this image-text, another subtler and altogether very different image-text has been deliberately erased from the public gaze. This more concealed image-text offers a significant counter narrative on the city’s public image and criticises the simulacrum constructed for the 2008 Olympics, both implicitly and explicitly. It is the ‘everyday’ image-text of a disappearing city still in the process of being bulldozed to make way for the neoliberal world’s next megalopolis. It exists most prominently as a filmic image text; in film documentaries about a ‘real’ hidden Beijing just below the surface of the government sponsored ‘optical artefact.’ Film has thus become a key medium through which to understand and preserve a physical city on the verge of erasure.


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