Archives: Confusion

A Stamp and A Soul

Because we were talking about oral history, I’ve decided this blog post will consist of my grandfather’s oral history. Maybe this will be the written record of his experiences in English. (:

Story time: My paternal grandfather was a young adult when he made his trek to HK from the outskirts of China. He was in HK when World War 2 happened. He was there at the time when the Japanese occupied the city, and was struggling to make a living after having followed in his brother’s footsteps. He tells stories of when he was young, starting out as a small business owner that sold ivory and the like, including chopsticks and name stamps. There was once when a Japanese soldier commissioned my grandfather to make him a name stamp, and he paid in advance for it too. My grandfather told him to come back in 2 weeks. He waited. The soldier never showed up.

I know of this because of a project I had to do in high school, where I had to interview a WWII survivor and listen and record their stories. I had to transcribe them and present it in a report to the teacher. The ones that wanted their works published in the HK Heritage archive could do so as well. There were many stories that were told, many that were recorded, but also many that was never heard. Having our discussion of oral history and the importance of it reminded me of the project. Through it, I got to know my grandpa and his struggles, his efforts, his toil and his fears (of the world wars, of the communists, of providing for his family). Oral history may be someone’s personal history, but it is history nonetheless. The underlying tensions between the Hong Kong people and the Japanese during its occupation, along with the stark realities of war can be easily understood with my grandpa’s story.

Of course, now that he is older, he constantly talks about the old days, of when the communists came. I always hear him talk about communists this, communists that, but the stories aren’t so clear. He doesn’t talk about it. He talks about other people’s experiences, where the communists come and take everything. According to my father, he was sent to America by my grandfather to start a business in order to have the whole family immigrate to the US. Dad worked hard, and the whole family moved.

I’m always confused at the timeline of everything, because I never know exactly when we were in the ivory business, and when it stopped. Grandpa apparently owned a restaurant too. Apparently lots of people went there. Apparently it was popular. I didn’t know that. It’s not there anymore. I ask my Dad about it too, but it’s not a really satisfying answer. Maybe I’ll ask more when I get back to HK (:

The Truth of a Lie

True or False: Mermaids have been proven to exist.

True, if you consider Discovery Channel’s  Mermaids: The Body Found  and Mermaids: The New Evidence.
False, if you read the post-script at the credits saying that it’s science fiction based on scientific possibilities and theories.


via GIPHY

I remember watching Mermaids on TV because my mother loved animal documentaries, and it just so happened to be on, so I watched it. I remember it being a really big thing because all of a sudden, mermaids exist!! They aren’t just fantasy and they’re real! Oh my goodness!


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Reading the articles assigned for this week reminded me of the mockumentary, and the fact that it generated Discovery Channel’s highest viewership ratings since it’s creation still astonishes me. The reputation of the Discovery Channel as a documentary channel (at least in my perception of it) caused the world to jump in on the hoax, believing in the existence of mermaids even when it was completely made up. The form of the story, in this case a documentary, had a huge impact on its reception and believability. With the production of Mermaids, Discovery Channel used the idea that documentaries are factual and grounded in reality to successfully draw an audience. The seemingly opposing form of the story and the content of the story caused an uproar in the online communities that have watched the film. The effects of this use (or misuse) of form and media generated discussions surrounding the question of viewer and filmmaker responsibility, a question we kind of touched upon in class. Is it the filmmaker’s responsibility to create content that is true, factual, accurate, and believable? Or is it the viewer’s responsibility to fact-check and make sure the content they are consuming stems and originates from credible sources? Where does the responsibility fall? The tensions between a formally represent “documentary” and the expectations of a documentary can be highlighted in a quotation found in our Winston reading Claiming the Real, where Discovery is essentially “grounding the documentary idea in reception rather than in representation” being “exactly the way to preserve its validity” (253).

The responsibility argument reminds me a lot of the “trigger warnings” that have been a prevalent in social media as of late. The idea of “trigger warnings” suggest that it is the creator’s responsibility signpost their content to protect others from viewing it. Is this the solution though? Is it not a kind of censorship? I ask a lot of questions in these blog posts that I don’t know the answer to. (:

Because Chinese Movies Live in Fantasies

So I was scrolling through twitter, like I usually do, and an ad for an upcoming movie shows up on my feed. The title of the movie is called The Great Wall, starring Matt Damon, Pedro Pascal, Jing Tian, Willem Dafoe, Lu Han, and Andy Lau.

… Hello, Matt Damon! What are you doing in Song Dynasty China? Do you need to be rescued again? Also, Oberyn Martell is wielding an axe!

In all honesty though, I didn’t know what to feel when I saw this. After the representations chat in class, this trailer just rubbed me the wrong way. I didn’t even finish the whole trailer, actually, because I just thought “oh. Another film about a white guy in China that probably saves the world blah blah blah.”
Then I started to think about it. Am I offended?


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Maybe.

via GIPHY

So I watched the whole trailer, and it’s a fantasy movie about monsters on the other side of the Great Wall. Okay, sure. But it still doesn’t satisfy me. Why not, you ask? It’s a fantasy movie, which means everything is pretty much made up anyway, but I’m still not convinced. Even if Andy Lau is in it. Even if Zhang Yimou directed it. Because I feel like Chinese movies have been doing this kind of thing for ages already. Take Painted Skin for example, or A Chinese Ghost Story (omg. translations. why. The Chinese title 倩女幽魂  literally means beautiful girl ghost; if I had to translate the title it would probably be something like The Ephemeral Beauty). These movies are all historical fiction taking place in some ancient Chinese Dynasty, which to be fair, is pretty much the premise of The Great Wall. Perhaps I’m just desentisized to these now, because there have been so many in Chinese cinema and film that I really don’t care for another one, starring a white guy no less.

The question of representation and the insider/outsider status creates space for these types of discussion. Am I offended because an outsider is seemingly infiltrating into my supposed “insider” culture? The 3 out of 5 main cast and the director are Chinese, is this enough of a “representation” of culture? I don’t know. Also, question about subtitles or I guess movies in general: Hong Kong watches English films with subtitles all the time, because it’s “main stream”. What does it take for a foreign film to be shown in theatres here, in North America, or in any English speaking country, without being dubbed over? Do people here read subtitles?

My Sense of Home

Unit 2.1, Assignment 2.2 –– Home and what it means to me.

February 8th is the first day of the Chinese New Year of 2016 , and this is the time of year where my homesickness is at its worst. I’m not talking about just missing home, but aching for home, for Hong Kong, or as some of my friends have called it “Home Kong”. I remember my first year away from home I was experiencing that longing so badly that as soon as I heard gongs and drums from outside I immediately ran to my window to try and hear it better. Chinese New Year for me is like Christmas for some people; I get good food, see relatives I only see once a year, get caught up in the festive atmosphere, and most importantly, I get lai see (red pockets). But now, being away from all that, I’ve realized it’s more than just what we do, but it’s more the tradition of it––everything from preparing the house and the food, the fortune box, the red banners with golden imprinted letters of some auspicious phrase… The feeling surrounding Chinese New Year, the sense that “home” is more than place, that it includes traditions and culture, but also the people that celebrate and help create the festive, joyful atmosphere where I can fully immerse myself in.

Hong Kong New Years Fireworks Celebration

Hong Kong New Years Fireworks Celebration

Then these same people go on and cause something like the #fishballrevolution. The immediate reaction and the initial thought is: “This isn’t home. How can this be Hong Kong?”

Many of my friends have been posting on social media sites about this riot over fishballs and commenting that this is not the Hong Kong they know, nor is it the place they grew up in. But it is one and the same, just that circumstances have changed. When people talk about Hong Kong, we talk about the people of Hong Kong like they are an entity separated from the mainland China. Talk to any Hong Konger and they will tell you vehemently that we are not a part of China. We are, but we aren’t. We are more polite, more proper, more “civilized”, more free. The discrepancy between the peaceful civilized identity we built and the violence during the fishball riot is hard to reconcile, and so our response is that of denial. How can this be Hong Kong when we have always boasted of our civility to only act like barbarians over fishballs? Granted, this is a result of the #umbrellamovementHK and its unresolved tensions between the government and the people, but still.

I made a post titled identity crises back in 2014 for another class, talking about the colonization of the city I grew up in and how that has affected the people and their perceptions of their home. Hong Kong is an international city and the most visited city in the world, but underneath all the glamour and bright flashing neon signs is the identity that is shifting constantly, balancing between becoming the international city from Chinese backgrounds. That is who I am too. An international student from an international school, not quite local enough to be truly a Hong Konger, but not really Canadian enough to be Canadian either. So what is my sense of home? I’m not really sure anymore, but I feel it’s beginning to shift too.

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Works Cited

Chor, Laurel. “Graphics showing why ‘Hong Kong is not China’ go viral.” Coconuts Hong Kong. N.p., 2 July 2015. Web. 8 Feb. 2016.
<http://hongkong.coconuts.co/2015/07/02/graphics-showing-why-hong-kong-not-china-shared-widely>.

Iyengar, Rishi. “6 Questions You Might Have About Hong Kong’s Umbrella Revolution.” Time. N.p., 5 Oct. 2014. Web. 8 Feb. 2016.
<http://time.com/3471366/hong-kong-umbrella-revolution-occupy-central-democracy-explainer-6-questions/>.

Kwong, Vincent. 元旦日旺角舞獅2015. Youtube. N.p., 1 Jan. 2015. Web. 9 Feb. 2016.<https://www.youtube.com/watch?v=obEB6gT9YbA>.

Moss, Stephen. “Is Hong Kong Really Rioting Over Fishball Stands?” the Guardian. N.p., 9 Feb. 2016. Web. 9 Feb. 2016. <http://www.theguardian.com/lifeandstyle/shortcuts/2016/feb/09/hong-kong-fish-ball-revolution-china-riot>.

girls girls boys

I remember in psychology class back in high school, we learnt about the education of children and the way advertisements and commercials affect children and their perception of who they are and what is acceptable in society.

Why is this relevant? Wollstonecraft talks about the education system, or lack thereof, for women during the time which she wrote The Vindications. She talked about how women were constructed by men, in that their education stemmed from the desires of men essentially wanting trophy wives, disregarding women’s humanity and seeing them as objects. Nowadays, of course, this has radically changed as education throughout the majority of the world is seen as equal where men and women are allowed to undertake in whichever field they choose. However, as learning is a lifelong process, the education of children is significant in their development into adults.

The reason I am bringing psychology into this is because mainstream education in the form of schooling is not the only way in which girls can be objectified and disregarded. Humans take in their surroundings, and the objectification of females in advertisements shine a light on the fact that the inferiority of women has now shifted from mainstream education into an everyday sort of education. Ads of the perfect women (thin, toned, blemish free, etc) are found all around and simply seeing this every single day can have a negative effect on young girls. Needless to say, women still have a ways to go in order to truly become equal to men.

Now on the other side of the argument: males, boys in general, might be experiencing some difficulties in mainstream education. I’ve come across an interesting TEDtalk about re-engaging boys into learning because there has been a trend of boys dropping out of school in recent years. One interesting point that the speaker points out is the expectations for boys to behave like girls in a classroom setting, where boys are told to “be more like the girls” and sit quietly and listen to instructions. This seems like a reverse of what Wollstonecraft may be referring to in her time, when education was targeted to males. Now, early education seems to value girls more than boys simply for their characteristics (girls are quiet and calm while boys are loud and fidgety). I guess this empowers girls in someways, saying they are the model students in classroom settings simply because of their stereotyped nature of a calm demeanor as opposed to boys, but doesn’t this then disregard boys and their nature?

Oh, the balance of gender equality, so easily tipped to one side or the other.

 

identity crises

Hong Kong was a colony of Great Britain until July 1st, 1997, when it was handed back to China. My point? I’m 19 and have lived pretty much all my life in a post colonial country. Why is this post titled “identity crises”? Because even though Hong Kong is considered to belong to China, Hong Kong is not China. Sure, we have the same customs and traditions and most of our culture is the same but it’s just different. Same same but different. This, I feel, ties in with Black Skin, White Masks because the idea of races is applicable to Hong Kong people’s rejection of the idea of being a part of China, or at least from China.

The distinction Fanon made between races such that people begin to distance themselves from subordinate races (black) and create connections with the dominant race (white) is a rather interesting idea: “because the Antillean is more ‘évolué’ than the African––meaning he is closer to the white man” (9). I believe this applies to Hong Kong people too; because we have been colonized by the British and have been under the influence of the British, we are closer to the “white man” as opposed to our other chinese counterparts.

Post-colonial times for a country means reconstructing a whole society, or even an entire culture and figuring out how it operates. Hong Kong obviously went back to its Chinese roots, but has become more… sophisticated, I guess I could say. In Hong Kong, the act of squatting is mainly looked down upon. This is because this act is associated with the mainland Chinese and is a behaviour separating Hong Kong people from mainland Chinese. This is significant in that it clearly demonstrates the “évolué” Fanon talks about; Hong Kong people do not squat on the sidewalks because it is not the civilized thing to do.

But then I arrive at the dilemma that I am also Chinese, and insulting my own race is not a very nice thing to do––the Antillean and the African. Identity crisis ––> I am Chinese, but I’m not Chinese Chinese, I’m Hong Kong Chinese. I’m also Canadian.

Now the word ‘Chinese’ looks weird to me because I’ve typed it too much.

Magic is real — The Kingdom of This World by Alejo Carpentier

I forgot I had to do a blog post… Sorry!

The Kingdom of This World is an interesting novel, and I’m still in the midst of digesting it and trying to get into the “magical realism” of the story. I read The Chronicles of A Death Foretold by Gabriel Garcia Marquez in high school and loved it, though the magical realism element still confuses me somehow.

I guess this blog post is more of what magical realism is, since it’s sort of difficult to explain and even though my english teacher tried his best to explain it, I have no clue what he’s talking about. What is magical realism? Magic into reality, reality into magic, but it’s subtle and because everything is blended into each other so well there isn’t a way to discern between the two at some point, but then when you think back on certain ideas, it seems ridiculous. This is my grasp on what magical realism is, though I still have trouble trying to figure out what elements are magical realism within the novel… Perhaps I read it too quickly.

Time to reread the novel.

Cherie