Orientations: transcultural perspectives on asia, vol. 4, 2002
9 My Yellow Feminism, Or Perspectives of an Educated, Westernized, Politicized Asian American Woman who Refuses to be Anyone’s China Doll, by Rhea wong
11 Trials of a Boy Trying to be a Man, by Jonathan Chang
14 Interview with Xu Bing, by Daniel Sze-Hin Ho
21 Hill(Scape)ing in Hong Kong: An Interview with Gary Hill, by Alice Ming Wai Jim
35 Modern and Hypermodern Streetscapes in Hong Kong, by Bonnie Leung
31 The Colonization of Japan: Early Meiji Cartography, by Christophe Thouny
36 Deleuze’s Images of Cinema and Kore-Eda’s Afterlife, by Adrienne Gibb
43 The Fish Market: A Short Film, by Yung Chang
53 Kaohsiung – August Images, by Vincent Roy
58 The Jindai funu Myth: Representations of the “Modern” Woman in 1930s Chinese Oil Paintings, by Adrienne Gollop
67 A New Japanese Female Voice in Pop Music: Being Post-burikko, by Bryce Kushnier
77 Post-Colonial Sounds, by Olivier Petitpas
78 Newcomer Buffets: A Wonderful Source of Food, by Takeshi Ward
From the Editors:
The project and aim of Orientations: Transcultural Perspectives on Asia is to think about Asia and the Asian diaspora bearing two concerns in mind: representation and the bridging of cultural divides. on the one hand, Orientations grows out of a desire to present intelligent alternatives to media representations of Asia. On the other hand, Orientations is about bridging divides – or highlighting the existence of these divides – between identities, cultural practices, and cultural forms. As the concrete outcome of these concerns, Orientations is conceived of principally as a forum – for essays, images, personal accounts, and interviews on Asia and the diaspora.
The essays, images, personal accounts and interviews presented in this issue of Orientations are the bounty of an encouragingly rich and broad selection of the many high quality contributions we received. From articles on architecture, film, and art, to a film script by a Montreal-based writer and director, to personal accounts by diasporic Asians, the offerings this year are marked by a preoccupation with change and with modernity in all its guises. Of course, there are many concomitant concerns as well, some of which include: the representations of femininity in visual art in “the Jindai funu Myth: Representations of the modern woman in 1930s Chinese Oil Paintings”; music in “A new Japanese Female Voice in Pop Music”; architecture and lived space in “modern and Hypermodern Streetscapes in Hong Kong”; the problems of tradition and of communication in the works of contemporary Chinese artist Xu Bing in “Interview with Xu Bing”; art and politics in Gary Hill’s installation pieces as recounted in “Hill(scape)ing in Hong Kong.” And then there are pieces that deal with the problem of diasporic identities – the film script The Fish Market, the first-person account “Trials of a Boy Trying to be a Man,” the humourous “Newcomer Buffets,” and, with a harder edge perhaps, “My Yellow Feminism.”
All these contributions lend Orientations the diversity for which we strive. More importantly, they are examples of writing which not only critique existing representations of Asia and the Asian diaspora, but generate new ones. And it is in this articulation of new representations that the project of Orientations itself lies.
We hope you enjoy this, our fourth annual issue of Orientations, and encourage any and all submissions, comments, and inquiries. Thank you for your support.
Daniel Sze-hin Ho
Franz D Hofer
Wen Lee Soo
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Layout and Design
Wen Lee Soo
Wen Lee soo
Thanks to our Sponsors
Arts Undergraduate Society
Department of Art History and Communications
Department of East Asian Studies
JET (Japan Exchange and Teaching Programme) Alumni Association of Montreal
McGill Alumni Association
McGill Graduate Students Society for East Asian Studies
Students’ Society of McGill University
Jonathan Chang is in his final year of the Arts and Science Programme at McMaster University. He is writing his undergraduate honours thesis on the appropriation of the Chinese Heroic Tradition by contemporary Chinese American authors in order to define a Chinese American male identity.
Yung Chang is an independent filmmaker currently based in Montreal, Quebec. He graduated with a Bachelor of Fine Arts specialising in film production from Concordia University’s Mel Hoppenheim School of Cinema in 1999. The Fish Market is Yung’s first professional short film since graduation, produced with the assistance of a national grant from the Canada Council for the Arts. Currently Yung is directing Eart to Mouth, a documentary produced by the National Film Board of Canada following first generation Chinese farmers to Newcastle, Ontario from farming process to the dinner table.
Adrienne Gibb is presently completing her M.A. in East Asian Studies at McGill University and is translating several texts by Ozaki Midori, a woman writer from 1920s Japan.
Adrienne Gollop is completing a B.A. in Art History at McGill University.
Daniel Sze-hin Ho completed his B.A. in English Literature at McGill University. He is planning to enter graduate studies.
Bryce Kushnier is an Anthropology graduate, artist and musician from the University of Manitoba with a research interest in Japanese popular cultural and subcultural issues and criticisms in music.
Bonnie Leung completed her architectural education at McGill University. She is currently working for the new York City architectural firm Kohn Pederson Fox.
Alice Ming Wai Jim is an art historian and a freelance arts writer conducting research on media art and spatial culture in Hong Kong for her Ph.D. in art history at McGill University. She is currently Visiting fellow at the Center for the Study of Globalization and Cultures, University of Hong Kong. Her writings have appeared in international art journals including Flash Art, Parachute and Art Asia Pacific, in the South China Morning Postand in a forthcoming issue of Positions: East Asia Cultures Critique.
Angely Pacis is a co-founder of Orientations and a McGill Alumnus, and has spent the last year exercising her journalistic talents and wrestling with questions of race in the media. She was a foreign correspondent at the World Conference Against Racism (WCAR) for Young People’s Press (www.ypp.net) and is currently working on an independent documentary film about Filipino Identity in Canada.
Olivier Petitpas is a post-graduate student in Hong Kong University, specialising in contemporary Japanese popular culture. He also writes on music for Wire and Tofu magazines.
Vincent Roy is working towards a B.A. major in East Asian Studies at McGill University and a minor at Concordia University in Fine Arts.
Christophe Thouny was born in Macon, France in 1977. He graduated in 1999 from Lion II University, Faculty of History, and wrote his thesis on the history of Tokyo Harbor (“urban PLanning, 1853-1941″). He is currently completing a M.A. in East Asian Studies at McGill University, with a focus on Tokyo cartography & modernity in early Meiji Japan.
Takeshi Ward is doing a Master’s degree in Second Language Education. He enjoys hacky-sack, traveling, and pursuing blue whales. He will move to South America after graduation.
Rhea Wong is a fourth-year Honours Political Science student with a minor in East Asian Studies. She is the Editor-in-Chief of the McGill Tribune. She will return to San Francisco to pursue her professional karaoke career, hoping to transition into Canto-pop stardom. Barring that, she will go to graduate school.