Hou Xiaoxian as Ambassador

2020 ◽  
pp. 121-144
Author(s):  
Dennis Lo
Keyword(s):  
Lived Experience ◽  
Final Section ◽  
Place Making ◽  
Colonial Era ◽  
Tourist Gaze ◽  
Southern Chinese ◽  
Production Environments ◽  
Assistant Director ◽  
Location Shooting

This chapter closely traces the evolution of Hou Xiaoxian's contentious modes of place making while he shot on-location in China for the “Taiwan Trilogy," where Southern Chinese locales sometimes substituted for Taiwan’s historical settings. Location shooting in China for City of Sadness presented Hou with his first opportunity to perform a role as a cultural ambassador in an unprecedented period of cross-strait geopolitical thaw. After cross-strait relations became more normalized, Hou widely publicized his intentions of location shooting in Fujian for The Puppetmaster (1993). During this shoot, Hou articulated his theory of “authenticating life,” or the reenactment of lived experience. To authenticate the life of famed Taiwanese puppeteer Li Tianlu, whom he believed to be a living embodiment of Chinese-ness, Hou re-staged live budaixi shows in Fujian, hoping the environmental aura of present-day China would conjure for Li memories of colonial-era Taiwan. Assistant director Chen Huaien, however, counters that it was Taiwanese culture which required salvaging, not China’s. “Authenticating life,” Chen implied, relied on inauthentic means of reenactment to produce what only felt superficially authentic. The final section explores this contradiction as it is manifested in Good Men, Good Women (1995) – Hou’s first, and final film to feature present-day Chinese settings. I demonstrate that the filmmakers were unable to experience their production environments in Guangdong as anything more than through a “tourist gaze.” Hou finally experienced the constraints of “authenticating life,” and more broadly, the complexities of salvaging cultural Chinese heritage in an increasingly volatile period of cross-strait relations.

(Re)visiting spaces of home: German heimat tourists 'returning' to Timisoara, Romania.

2021 ◽  
pp. 37-47
Author(s):  
Andrea Bieber ◽  
Werner Gilde ◽  
Desmond Wee
Keyword(s):  
Cultural Identity ◽  
Consumer Behaviour ◽  
Place Making ◽  
Tourist Gaze ◽  
New Meanings ◽  
Sense Of Identity ◽  
Tourist Flow

Abstract This chapter explores the diaspora of the Banat Swabian culture, their sense of identity in Germany, and their relation to 'Heimat tourism' through the perception of place in Timisoara in the region of the Banat, Romania. It enables understanding of the impacts of Heimat tourism and the implications for consumer behaviour in the visitor economy and also investigates place-making processes and the (re)creation of destination spaces through experience and narratives. This chapter aims to illustrate how cultural identity, tourist flow, and the perception of place contribute towards the making of heimat, to show how places that are both real and imagined at the same time reinforce a particular tourist gaze and examine how such tourist imaginaries create a 'Heimat tourism' that fosters a hermeneutic cycle perpetuating new meanings of self.

Myth Making in Place

2020 ◽  
pp. 53-74
Author(s):  
Dennis Lo
Keyword(s):  
Rural Development ◽  
Lived Experience ◽  
Cultural Production ◽  
Social Activism ◽  
Nation Building ◽  
Fourth Generation ◽  
Place Making ◽  
Cultural Logic ◽  
Discursive Analysis ◽  
Chinese Province

By critically examining Li Xing’s The Heroic Pioneers (1986) and Fourth Generation Chinese director Wu Tianming’s Old Well (1986), this chapter argues that the narratives and representations of place making in these “Chinese Westerns” suppress exilic longings to forge new myths of nation building, holding steadfast to official narratives of progress even at a time of decreasing influence for state-sponsored policy films in Taiwan and the PRC. At the heart of this chapter is my argument that the location shoots in The Heroic Pioneers and Old Well were staged as present-day reenactments of the films’ narratives of colonization and rural development. While shooting on-location in what were then an undeveloped Eastern coastline in Taiwan and the underdeveloped Northwestern Chinese province of Shaanxi, Li and Wu blurred their practices of location shooting with diegetic motifs of labor, self-sacrifice, loyalty, cultivation, and pioneering, thus mythologizing cultural production as a lived experience of nation building. They referred to their rituals of braving production hardships as “experiencing life,” a process through which they could emerge as archetypal national subjects. Despite Li’s and Wu’s attempts to demonstrate their dedication to social activism, a discursive analysis of the directors' production narratives demonstrates that a neocolonial cultural logic underlies their place making.

scholarly journals Inscribing the city: a flâneur in Tokyo

1970 ◽  
Vol 6 (1) ◽  
Author(s):  
Raymond Lucas
Keyword(s):  
20Th Century ◽  
Final Section ◽  
Space And Place ◽  
Architectural Theory ◽  
Place Making ◽  
Situationist International ◽  
Working Practices ◽  
The City

A recent topic for fascination in architectural theory has been Walter Benjamin’s work on the flâneur of Charles Baudelaire’s Paris. This figure, more than just a wanderer, shopper or tourist, characterises one aspect of the modern city-dweller’s condition, as found in the Parisian arcades. This meandering, aimless ‘Man Without Qualities’ so informs how we understand the city, for example, as a prototype for both the cinematic subject and audience. Flânerie also has its uses as a thinking tool. City-based artistic movements in the 20th century, from the Dada and Surrealists through to Fluxus and the Situationists have all exploited similar modes of distracted attention in traversing the city. This trajectory takes us to the Situationist International in particular, who engaged with the city in a fashion analogous to the paper support for a drawing, equip us with new ways of understanding the experience of the city. As a part of my general inquiry into the role of drawing and notation in creative practice, the graphic representation of the city forms a case-study of particular interest. How do these alternatives to the traditional tools of architecture and urbanism aid or reconfigure our understandings of cities? This final section shall outline some of my own working practices. Drawn from the tradition of the architectural fantasy, which traces its history from Piranesi through Ferriss and Constant to Tschumi, Koolhaas and MVRDV. By considering architecture as a practice of representation as well as of space- and place-making, the architectural fantasy or paper project offers distinctive possibilities beyond what is commonly assumed to be simply an ‘unbuilt’ or ‘unbuildable’ project. As such, I place my reflections upon Tokyo into this tradition – I will explore the process I have worked through in re-presenting a journey taken through Shinjuku station.

scholarly journals Documentary criminology: Girl Model as a case study

2016 ◽  
Vol 13 (3) ◽  
pp. 357-374 ◽  
Author(s):  
David Redmon
Keyword(s):  
Lived Experience ◽  
Final Section ◽  
Cultural Criminology ◽  
The Third ◽  
Documentary Filmmaking ◽  
The Aesthetic

Visual and cultural criminology are integrated with documentary filmmaking to develop a theoretically grounded, practice-based approach called ‘documentary criminology’. The first section establishes the need for documentary filmmaking in criminology and outlines methodological opportunities. The second section examines theoretically the aesthetics and substance of documentary criminology. The third section takes the film Girl Model (Redmon and Sabin, 2011) as a case study to demonstrate how documentary criminology embedded in lived experience (in this case, the experience of scouts that recruit young Russian girls, purportedly for the modelling industry) can depict sensuous immediacy. The final section contrasts the aesthetic and ethical consequences of documentary criminology within Carrabine’s (2012, 2014) concept of ‘just’ images to a documentary filmmaking approach that remains interpretively open-ended. Readers can access Girl Model at https://vimeo.com/29694894 with the password industry.

scholarly journals Touring the magical North – Borealism and the indigenous Sámi in contemporary English-language children’s fantasy literature

2017 ◽  
Vol 22 (3) ◽  
pp. 327-344
Author(s):  
Sanna Lehtonen
Keyword(s):  
Lived Experience ◽  
Fairy Tales ◽  
English Language ◽  
Cross Cultural ◽  
Tourist Industry ◽  
Fantasy Literature ◽  
Tourist Gaze ◽  
Fantasy Fiction ◽  
The North ◽  
Symbolic Meanings

Discourses of exotic Lapland with its indigenous inhabitants, the Sámi, are widely circulated in the tourist industry and also surface in contemporary English-language children’s fantasy fiction. In contrast to the ‘self-orientalism’ of discourses of tourism, where places and people are represented as exotic to a tourist gaze, the portrayals of the North and its inhabitants gain different symbolic meanings in fictional texts produced by outsiders who rely on earlier texts – myths, fairy tales and anthropological accounts – rather than on their own lived experience of the North or indigeneity. This article applies the concept of Borealism to examine cross-cultural intertextuality and discourses of the Sámi/Lappishness in English-language children’s fantasy by four contemporary authors. The Sámi and their folklore become recontextualised in fictional texts through a Borealist gaze that associates the indigenous characters with feminist and ecocritical discourses and frames indigenous ethnicity in stereotypical ways.

The “old” and the “new”: events and placemaking in Luang Prabang, Laos

2017 ◽  
Vol 8 (1) ◽  
pp. 55-65 ◽  
Author(s):  
Russell Staiff ◽  
Robyn Bushell
Keyword(s):  
Lived Experience ◽  
Knowledge Production ◽  
Film Festival ◽  
Place Making ◽  
Photographic Recording ◽  
Content Type ◽  
Post Colonial ◽  
The Past ◽  
Cultural Research ◽  
Crucial Component

Purpose The purpose of this paper is to explore Lai Heua Fai, Festival of Light, as a place making ritual in the world heritage town of Luang Prabang, a former royal capital of the Lao-speaking kingdom. It compares this centuries-old traditional festival with a very new place making festival, the Luang Prabang Film Festival which began only six years ago. Design/methodology/approach Sense of place theorization has developed considerably in recent decades as a number of discourses have co-mingled and as social and cultural research has embraced space/place as a crucial component of knowledge production. The study explores place making in a globalized, post-modern and post-colonial world. Fieldwork was undertaken in Luang Prabang between 2008 and 2016 including interviews, observations, photographic recording and participation, leading up to the 2013 celebration of Lai Heua Fai and the 2015 film festival. Findings Lai Heua Fai and the Luang Prabang Film Festival are spatial practices that represent the places they evoke. Both these events connect the past, the present and the future in place. The authors argue that separating “events” from “place” sets up a dichotomy that is problematic and unsustainable on many levels: perceptually, as a lived experience, epistemologically and analytically. Originality/value The authors suggest that these two identity forming events, in the life of Luang Prabang, herald “place” and “place making” as ongoing dynamic processes of construction and re-construction where the “traditional” and the “contemporary” are constantly re-constituted as markers, in the case of this research, of Luang Prabangan identity and place attachment.

Revalorizing colonial era architecture and townscape legacies: memory, identity and place-making in Irish towns

2016 ◽  
Vol 22 (4) ◽  
pp. 502-519 ◽  
Author(s):  
Arthur Parkinson ◽  
Mark Scott ◽  
Declan Redmond
Keyword(s):  
Place Making ◽  
Colonial Era

Social Justice Theory and Practice: Fostering Inclusion in Exclusionary Contexts

2016 ◽  
Author(s):  
Susan Opotow
Keyword(s):  
Social Justice ◽  
Lived Experience ◽  
Final Section ◽  
Theory And Practice ◽  
Marginalized Communities ◽  
Moral Exclusion ◽  
Scope Of Justice ◽  
Social Justice Theory ◽  
Acute And Chronic Exposure ◽  
Collaborative Efforts

This chapter, focused on the meaning and dynamics of social justice and injustice, describes theory and the lived experience of injustice. Its first section defines social justice, social injustice, and three psychological justice models—distributive, procedural, and exclusionary/inclusionary. The second section applies these models to environmental injustice, a complex, pressing social issue in which acute and chronic exposure to toxic pollution has become concentrated in marginalized communities. This example clarifies that the scope of justice, however wide or narrow, is a defining framework that is then operationalized by distributive and procedural justice in societal structures and in everyday life. The final section discusses collaborative efforts to widen the scope of justice and the difficulties of fostering social justice in contexts characterized by power inequalities and a culture of moral exclusion.

Review of Investigating Subjectivity: Research on Lived Experience.

1996 ◽  
Vol 41 (1) ◽  
pp. 85-85
Author(s):  
Terri Gullickson ◽  
Pamela Ramser
Keyword(s):  
Lived Experience
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