Sonic Multiplicities , livre ebook

Intellect Books Ltd - Jeroen de Kloet , Yiu Fai Chow

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130 pages

English

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Sonic Multiplicities is a fascinating book, with essays rich in empirical detail and – captivatingly combining the personal and the theoretical – evocative of the complexities of experience, desire and politics in our perplexingly mobile and entangled world. The book focuses on Hong Kong pop music as part of a translocal, if not global network of flows, providing a starting point for the authors to unsettle received notions of Chineseness, place and identity, of particular importance in a time when we need to come to terms with and resist, the increasingly stifling discourse of 'the rise of China'.

INTRODUCTION: SONIC MULTIPLICITIES

Chapter 1: ME AND THE DRAGON: A LYRICAL ENGAGEMENT WITH THE POLITICS OF CHINESENESS

Chapter 2: THE PRODUCTION OF LOCALITY IN GLOBAL POP – A COMPARATIVE STUDY OF POP FANS IN THE NETHERLANDS AND HONG KONG

Chapter 3: BLOWING IN THE CHINA WIND: ENGAGEMENTS WITH CHINESENESS IN HONG KONG’S ZHONGGUOFENG MUSIC VIDEOS

Chapter 4: SEX, MORALITY AND CANTOPOP

Chapter 5: BUILDING MEMORIES – A STUDY OF POP VENUES IN HONG KONG

Chapter 6: OLYMPIC CELEBRATIONS AND PERFORMATIVE CONTESTATIONS

Chapter 7: MUSIC, DESIRE AND THE TRANSNATIONAL POLITICS OF CHINESENESS: FOLLOWING DIANA

Sujets

Energie & environnement

Film

Pop (musique)

Music

Rock

Cultural Studies

General

Engineering

Pop music

Technology

General officer

Popular music

Sciences et techniques

Power Resources

Informations

Publié par	Intellect Books Ltd
Date de parution	05 novembre 2012
Nombre de lectures	0
EAN13	9781841507613
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,1000€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2013 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2013 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2013 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the
British Library.
Cover designer: Holly Rose
Cover photographer: Jeroen de Kloet
Copy-editor: MPS Technologies
Production manager: Bethan Ball
Typesetting: Planman Technologies
ISBN 978-1-84150-615-9 eISBN 978-1-84150-761-3
Printed and bound by Bell & Bain, UK
Table of Contents
Acknowledgements
List of Figures and Table
Introduction: Sonic Multiplicities
Sonic disappearances
What is going on?
Overview
Chapter 1: Me and the Dragon: A Lyrical Engagement with the Politics of Chineseness
Nationalistic songs
Another approach
Re-nationalization I: Descendants of the dragon
Re-nationalization II: Home and nation
Re-nationalization III: Performing acts (i) - writing against the grain
Re-nationalization IV: Performing acts (ii) - writing with a twist
Shoot the dragon
Chapter 2: The Production of Locality in Global Pop - A Comparative Study of Pop Fans in the Netherlands and Hong Kong
Introduction
Globalization: A sense of locality
Fandom: On fans of local stars
Methodology
Production of locality: The linguistic and the heroic
Production of locality: The social, the charitable and the personal
Community
Charity
Character
Conclusion
Chapter 3: Blowing in the China Wind: Engagements with Chineseness in Hong Kong's Zhongguofeng Music Videos
Destabilizing Chineseness
Feminizing Chineseness
Whither China Wind?
Chapter 4: Sex, Morality and Cantopop
Picture Gate
The Edison Chen scandal
The Confucian cum Victorian ethics and the spirit of global capitalism
Spectacle and image
Eye see you as I see you
Coda
Chapter 5: Building Memories - A Study of Pop Venues in Hong Kong
Fluid sounds
Monumental buildings
Building memories
The Coliseum
Belonging and temporality
Chapter 6: Olympic Celebrations and Performative Contestations
The constative and the performative
Welcome to Olympic Beijing
Performing Olympic China from Hong Kong
Shanghai also welcomes you!
Criticality and popular culture
Chapter 7: Music, Desire and the Transnational Politics of Chineseness: Following Diana
Following Diana
Diasporic hope: Rewriting migration narrative
Musical hope: Rewriting modernity narrative
Language
Music
Body
Methodological endnote
The flow
The bodily
The political
The personal
Bibliography
Index
Acknowledgements
This book is not only a testament to our shared interest in Hong Kong popular music, but also to our shared sense of urgency to understand and study Hong Kong and Chinese popular music in the multiple paths and networks we have tried to track and delineate in the chapters to follow. More fundamentally, and perhaps intimately too, this book is a testament to the collaborative nature of knowledge production itself: to the possibility that academic work can be done less solitarily. The past years have seen the two of us discussing which theoretical grounding to take, how to analyse and do justice to the field data, which books to read, and who should write what - as engagingly as we discussed where to wine and dine afterwards. What we would like to say is that academic work can be done together, and with fun.
In the meantime, we are fully and happily aware that we would never have accomplished what we have without the encouragement and support of many others. In particular, we thank Ien Ang, Rey Chow, Chu Yiu Wai, John Nguyet Erni, Anthony Fung, Giselinde Kuipers, Leonie Schmidt and Liesbet van Zoonen for all our graceful discussions and lovely encounters, and for their continuous belief in our project. Then there are the friends with whom we share our collective indulgence in and mistrust of Hong Kong culture: Gladys Pak Lei Chong, Jeroen Groenewegen, Henk Hilkmann, Peter Ho, Anneke Huigen, Dineke Koerts, Kam Wai Kui, Helen Hok-sze Leung, Song Hwee Lim, Kam Wing Ling, Anne Minnema, Tak Wing Ngo, Lena Scheen, Hyunjoon Shin, Marcel Vergunst, Constance Vos, Anthony Wong and Rex Wong.
We thank Rebecca Chan, Louis Ho and Patrick Jered for helping consolidate our images and texts. We thank the Emperor Entertainment Group, East Asia Music, Warner Music and many other pop music industry people for their willingness to share. We thank the ASCA Transasia cultural studies group for their feedback. We would also like to express our gratitude to the International Association for the Study of Popular Music (IASPM) and its Inter-Asia popular music studies group for providing such wonderful moments of scholarly exchange.
We thank Intellect and our most efficient production manager Bethan Ball for their trust in us and belief in this project.
Above all, we want to thank our mothers. Yiu Fai's mother showed him the importance of popular culture by taking him to see all sorts of horror and action films when he was still a child. Jeroen's mother has continuously shown her support for all the detours and travels taken in the past and present, and it is to this unconditional encouragement that he owes his trust in writing.
Earlier versions of different chapters have been published as follows. We want to thank the journals for their permission to republish.

Chapter 1: Inter-Asia Cultural Studies , (2009), 10:4, pp. 544-564.
Chapter 2: Participations , (2008), 5:2, Available at http://www.participations.org/ .
Chapter 3: Visual Anthropology , (2011), 24, pp. 59-76.
Chapter 5: Berliner-China Hefte/Chinese History and Society , (2008), 34, pp. 53-62.
Chapter 7: Cultural Studies , (2011), 25:6, pp. 783-808.
List of Figures and Table Figures Figure 1.1: Tatming Pair performing 'Don't Question the Heaven' (courtesy of People Mountain People Sea). Figure 1.2: Nicholas Tse in MV of 'Yellow People' (courtesy of Emperor Entertainment Group). Figure 2.1: Marco Borsato (courtesy of Loe Beerens). Figure 2.2: Leon Lai (courtesy of Paciwood Music & Entertainment Ltd). Figure 3.1: 'Goddess of Mercy' (Andy Lau) (courtesy of East Asia Music (Holdings) Ltd). Figure 3.2: 'Goddess of Mercy' (Andy Lau) (courtesy of East Asia Music (Holdings) Ltd). Figure 3.3: 'Small' (Joey Yung) (courtesy of Emperor Entertainment Group). Figure 3.4: 'Sweet Dumplings' (Fiona Sit) (courtesy of Warner Music Hong Kong). Figure 3.5: 'Sweet Dumplings' (Fiona Sit) (courtesy of Warner Music Hong Kong). Figure 3.6: 'Daiyu Smiles' (Vincy) (courtesy of Emperor Entertainment Group). Figure 3.7: 'Daiyu Smiles' (Vincy) (courtesy of Emperor Entertainment Group). Figure 3.8: 'Sword and Snow' (Sammi Cheng and Denise Ho) (courtesy of East Asia Music (Holdings) Ltd). Figure 3.9: 'Sword and Snow' (Sammi Cheng and Denise Ho) (courtesy of East Asia Music (Holdings) Ltd). Figure 3.10: 'Big Red Robe' (Denise Ho) (courtesy of East Asia Music (Holdings) Ltd). Figure 3.11: 'Big Red Robe' (Denise Ho) (courtesy of East Asia Music (Holdings) Ltd). Figure 3.12: 'Big Red Robe' (Denise Ho) (courtesy of East Asia Music (Holdings) Ltd). Figure 4.1: Internet circulation of the proof that these are the real celebrities being depicted. Figure 4.2: Taken from the Internet, a timeline of Edison's sexual life. Figure 4.3: Edison Chen in Oriental Sunday (Issue 599, 2 June 2009). Figure 4.4: Edison Chen's Beijing 2011 art show. Figure 4.5: Edison taking pictures - again. Figure 5.1: City Hall (courtesy of Hong Kong Public Records Office). Figure 5.2: City Hall dwarfed amidst the Hong Kong skyline. Figure 5.3: Academic Community hall. Figure 5.4: Queen Elizabeth Stadium. Figure 5.5: Hong Kong Coliseum. Figure 5.6: Hong Kong Exhibition and Convention centre. Figure 5.7: West Kowloon Project. Figure 6.1: New Labour Art Troupe's 'Our World, Our Dream'. Figure 7.1: Diana Zhu. Table Table 3.1: China Wind entries to Commercial Radio pop chart January 2006-October 2008.
INTRODUCTION: SONIC MULTIPLICITIES
The city is not so much a place as a space of transit. It has always been, and will perhaps always be, a port in the most literal sense – a doorway, a point in between – [. . . Hong Kong subjectivity is] a subjectivity constructed not narcissistically but in the very process of negotiating the mutations and permutations of colonialism, nationalism, and capitalism.
Ackbar Abbas (1997: 11)
Maybe the target nowadays is not to discover what we are but to refuse what we are. We have to imagine and to build up what we could be to get rid of this kind of political ‘double bind,’ which is the simultaneous individualization and totalization of modern power structures.
Michel Foucault (2000 [1982]: 336)
Sonic disappearances
Hong Kong popular music is dying, if not already dead. Ask anyone who has witnessed the heydays of Hong Kong pop, you would most likely receive this alarming reply. And you would most likely hear them hasten to add, with a mixture of pride and sadness, how different it was, how many great stars and great hits they had, then. Indeed, during the 1970s and 1980s, Hong Kong was an important producer of popular music whose appeal reached far beyond its boundaries, both regionally and globally. For a long long time, local pop delivered in the local language of Cantonese, otherwise known as Cantopop, dictated global Chinese charts; it was, simply, ‘the sound of Chinese cool’ (Burpee in Chu 2007: 2).
But now, chances are that participants of singing contests in Hong Kong (and the Chinese diaspora) would deliver a Mandarin song by a Taiwanese star, such as Zhou Jielun (Jay Chou). Increasingly, Hong Kong singers shift their (market) base to mai