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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!


via GIPHY

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. (:

Contact: Land and Stories, The One “True” Version

Unit 2.2, Assignment 2.4 – Origin stories

Q1) …Why does King create dichotomies for us to examine these two creation stories? Why does he emphasize the believability of one story over the other — as he says, he purposefully tells us the “Genesis” story with an authoritative voice, and “The Earth Diver” story with a storyteller’s voice. Why does King give us this analysis that depends on pairing up oppositions into a tidy row of dichotomies? What is he trying to show us?

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In The Truth About Stories, King tells of the two creation stories of the pregnant Charm falling through the sky, and of Adam and Eve in the Garden of Eden in Genesis. He distinguishes the two stories by describing how he tells them differently and pitches the two against each other as representations of two separate ideologies of religion or thought processes inherent in the natives versus the Europeans. I think King presents this dichotomy in an effort to have his readers consider the ideas beyond––a way of saying that the dichotomies exist, I have shown them to you, now what is underneath that?

King talks about the authoritative voice he uses in his retelling of the Genesis creation myth, and how that is the basis of the European thinking related to hierarchies and power dynamics evident in the culture associated with royals and nobles versus peasants and slaves. On the topic of authority, there has been psychological studies which have identified individuals feeling powerful when in an authoritative position. Studies such as Milgram’s Shock Study and Zimbardo’s Standford Prison Study presents authority as being an idea which could cause people to act wildly out of the norm. In Patros et. al’s report of the “Underlying Effects of Authority: Past to Present”, they state that “[a]n unequal balance of power in a group setting can lead otherwise normal human beings to behaving tyrannically”. If, in such extreme cases, authority has been proven to have such adverse effects on people, then the effect of the “authoritative voice” used by King to tell the story of Adam and Eve is one which establishes power and dominance over the more peaceful and balanced Charm creation story. As Lutz writes in “Myth Understandings: First Contact, Over and Over Again”, “stories function to redress power relations between the native and newcomer” (13), and this is made apparent in King’s address of the difference in style of the telling of the creation stories.

The dichotomy between the two is not so much as a dichotomy but rather, perhaps, a pyramid, because there always needs to be one “true” story, and the one with the most authority, the one which seems to hold more power and command sits at the pinnacle whilst the plethora of other tales are spread underneath and creates a base of which the authoritative story has power over. In short, because of the nature in which the Adam and Eve story is told, it is unconsciously being labeled as a “true” story for containing authority.

King uses this distinction to highlight the inherent differences in the stories and therefore the opposing ideologies of a power driven culture versus a balance driven culture. Through the dichotomies he presents to readers, he is able to also emphasize the parts which do not fit so tidily into the row of dichotomies, of the influences and interplay of histories and stories of natives and Europeans outside of the obvious contrasts. By doing so, King paints the larger picture of the dynamics of the relationships between the two different peoples and the complexity of maintaining and managing such relations when the other is presented as otherworldly.

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Works Cited

Cherry, Kendra. “The Milgram Obedience Experiment.” About Psychology. about.com, 16 Dec. 2015. Web.

     19 Feb. 2016. <http://psychology.about.com/od/historyofpsychology/a/milgram.htm>.

Lutz, John. “Contact Over and Over Again.” Myth and Memory: Rethinking Stories of Indignenous- European

      Contact. Ed. Lutz. Vancouver: U of British Columbia P, 2007. 1-15. PDF.

Patros, Jennifer, et al. “Underlying Effects of Authority: Past to Present.” URC. Undergraduate

     Research Community, 5 Nov. 2006. Web. 19 Feb. 2016. <https://www.kon.org/urc/v6/

     patros.html>.

“The Stanford Prison Experiment.” The BBC Prison Study. N.p., 2008. Web. 19 Feb. 2016.

     <http://www.bbcprisonstudy.org/bbc-prison-study.php?p=17>.

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>.

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.

zombie apocalypses are already happening… and have been for quite awhile apparently

I, unfortunately, am also included in the “zombies” because I completely blanked out and just remembered I have a blog post due today. Well technically yesterday. Whoops.

Northanger Abbey is interesting, and I got into it right at the beginning with Austen’s intriguing style of narration. Her way of describing Catherine Morland was very interesting, and I especially loved how Austen described her childhood as that of someone who would not be seen as a “heroine” and then gradually becoming one. In my reading of this, or how I interpreted it (which may be completely and utterly wrong) was how critical this was of woman during the time period of the early nineteenth century.

The tomboy Catherine was not seen as a heroine because of what she liked/disliked to do, and because all “proper” girls were to be well read (generally artistically, including music, drawing, etc.), well bred and well behaved she did not fit into the category. I think this is a great example of how the society molds people into what they should or should not be. Catherine, in my opinion, was cool when she was younger because she did what she wanted and did not seem to care much about the requirements of becoming a proper lady. But then to become a “heroine” or to be able to be classified as one when she became older, she began reading and being proper and putting herself through all the activities which would make her a conventional lady of the time. This was really interesting to me because at first I thought she would be the type of heroine to take action on her own and save herself instead of having a hero come along and drag her out of her misery, but then I think I’ve been mistaken because we are told that Catherine was waiting for a hero. And that hero turns out to be well… less heroic and more narcissistic.

Now linking that to zombies: Catherine becomes a zombie by abiding to the social norms of the “proper lady” and doing what she previously did not have interest in. Albeit this could have been due to her young age and shifting appeals of various hobbies, it nonetheless describes the conformity one goes through within society in order to “fit in”, in this case for the benefit of finding a husband. Zombies of society, living without consciousness of the effects of hegemony and social norms which pretty much also describes Shaun of the Dead. 

Now if only some special individual’s blood can cure us of this kind of zombification, that’d be great.