The Art and Politics in East Asia meeting on February 15 will be an informal students-only discussion session on a topic to be determined.
The talk by Prof. Bowen-Struyks originally for the 15th has been moved to June 7. Details on both talks to follow.
This event has been rescheduled for January 25:
The “Besieged City” – Ann Hui’s Cinematic Portraits of the Homely and the Unhomely
This paper focuses on the “besieged city” of Tin Shui Wai, a remote new town in Hong Kong made infamous by its shocking number of family murder and suicide cases. In both its generic urban form and unique social tragedy, Tin Shui Wai is representative of the working class suburban towns expanding at the periphery of many cities. My study pursues two lines of inquiry. The first one examines family dysfunction in a bedroom community like Tin Shui Wai to consider the relation between the actual space of the home and its urban setting. My second question is specifically about media representation of the disadvantaged and dispossessed. As Tin Shui Wai’s heightened media exposure raised public sympathy and provoked social discrimination, its case questions the relationship between visibility and empowerment, and interrogates the claim of Hong Kong as a collective home by drawing attention to its internal exclusion. I look at Hong Kong director Ann Hui’s two films on this neighborhood – The Way We Are (2008) and Night and Fog (2009) – to explore these two sets of questions. I contrast the homely portrait of a single-parent household in The Way We Are with the attempt to capture a sense of uncanny in Night and Fog. While the former attests to the resilience and agency of ordinary people in reshaping their environment and community, the latter reveals Tin Shui Wai’s built environment as a misleading urban façade concealing a diametrically opposed social reality. As the two films follow the movement from the homely to the unhomely, they form an important whole that provides fresh insights into Tin Shui Wai and the contemporary world, by leading their viewers to look at individual lives in this ill-famed neighborhood, and to reflect on a more general human condition that far exceeds the boundary of the “besieged city.”
Ting’s talk will be held on Friday, January 25 from 3:00-5:00, in Judd Hall, room 313.
This workshop is sponsored by the Council on Advanced Studies in the Humanities. Persons who believe they may need assistance to participate fully, please contact the coordinator (Joshua Solomon) in advance at: email@example.com
In lieu of a regular workshop presentation this week, Art and Politics in East Asia will be cooperating with the Center for East Asian Studies in presenting a screening of Hangman Takuzo, a work in progress by Yasuko Yokoshi (information on additional events with Yasuko can be found here: http://ceas.uchicago.edu/events/index.shtml). The screening will be followed by a Q&A session, and dinner will be provided. Details follow below:
Hangman Takuzo (DVD; 45 minutes — work in progress)
by Yasuko Yokoshi
*Please note change in time and location*
Center for East Asian Studies, 5:30 November 9
Dancer and choreographer Yasuko Yokoshi’s latest project Hangman Takuzo seeks to capture moments in dance which she describes as “a permanently vacant lot, a beautiful space you cannot possess.” Hangman Takuzo is the name used by a Japanese performance artist who has been disappearing from the pain of being through the art of suspension for over 40 years. Every day he hangs himself from a tree in his garden. His girlfriend, the legendary dance artist Mika Kurosawa, describes the experience as the opposite of suicide: it conveys “the warmth of being and a yearning for life.”The film, now in post-production, features Takuzo, Mika Kurosawa, and the unforgettable 73-year old Namiko Kawamura, who is known for her Zenshin-Hoko (Naked-Walking-Forward) performance.BELL_Event_Flyer
A question and answer session with Yasuko Yokoshi will take place after the screening.