首页> 外文期刊>Visual Anthropology >Blowing in the China Wind: Engagements with Chineseness in Hong Kong's Zhongguofeng Music Videos
【24h】

Blowing in the China Wind: Engagements with Chineseness in Hong Kong's Zhongguofeng Music Videos

机译:吹中国风:香港中国风音乐录影带中的中国风

获取原文
获取原文并翻译 | 示例
       

摘要

While songs with distinct Chinese characteristics, whether musically or lyrically, have always been part of local pop history, a??China Winda?? (zhongguofeng) is a novel phenomenon. Above all, China Wind owes its production and circulation as a discursive formation to its endorsement by mainstream artists, notably from Taiwan, as much as to its popularity among audiences in Greater China. While China Wind pop is yet to be systematically documented, researched and analyzed, popular and media attention has generally focused on Taiwan-based artists and lyrics. In this essay, rather than focusing on what is considered the main source of China Wind songs, namely Taiwan, we have chosen China Wind songs that originated from Hong Kong and their music videos as the primary subject of enquiry. Our central concern is, how do Hong Kong's China Wind music videos engage with hegemonic versions of Chineseness? The choice of Hong Kong is informed by our empirical interest in the complex entanglement of cultural and political power in which the postcolonial city is presumably going through. At the same time it is, in theory and in praxis, a correspondence with the ongoing debates on Chinesenessa??debates on not only what but also who defines it. Our analyses show that while Hong Kong's China Wind pop evokes Chineseness, it also undermines it in two major ways: first, to render Chineseness as distant gaze, as ambiguous space and as ongoing struggles; and secondly, its feminization of Chineseness, opening up a space for questions on history and gender performance. In other words, the Hong Kong China Wind we have analyzed here articulates something quite different from a triumphalist celebration of Chinese tradition, value and culture. If China Wind as a whole is a culturalist project to rewrite Chineseness in an authentic, monolithic and indisputable way, Hong Kong's variant, we argue, is resisting.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; var addthis_config = {"data_track_addressbar":true,"ui_click":true}; Add to shortlist Link Permalink http://dx.doi.org/10.1080/08949468.2011.525492
机译:尽管具有音乐特色或抒情特色的中国特色歌曲一直是当地流行史的一部分, (zhongguofeng)是一种新现象。最重要的是,《中国风》的发行和发行是其话语权的一种形成形式,这要归功于主流艺术家(尤其是台湾艺术家)的认可,以及它在大中华地区观众中的受欢迎程度。尽管尚未对“中国风”流行音乐进行系统的记录,研究和分析,但大众和媒体普遍将注意力集中在台湾艺术家和歌词上。在本文中,我们没有重点研究中国风歌曲的主要来源,即台湾,而是选择了源自香港的中国风歌曲及其音乐视频作为主要研究对象。我们的中心问题是,香港的中国风音乐视频如何与霸权版本的中国性互动?我们之所以选择香港,是因为我们对后殖民城市可能正在经历的复杂的文化和政治权力纠缠不清。同时,在理论上和实践上,这与正在进行的有关中国性的辩论相对应,不仅讨论了定义它的内容,还讨论了定义它的人。我们的分析表明,虽然香港的中国风流行音乐唤起了中国人的风情,但它也从两个方面破坏了中国风:第一,将中国风渲染为遥远的目光,模棱两可的空间以及持续的斗争。第二,中国化的女性化,为历史和性别表现问题提供了空间。换句话说,我们在这里进行分析的“中国香港风”表达了与中国传统,价值和文化的胜利庆祝截然不同的东西。如果从整体上说中国风是一个以真实,整体和无可争辩的方式改写中国性的文化主义项目,那么我们认为,香港的变种正在抗拒。查看全文下载全文services_compact:“ citeulike,netvibes,twitter,technorati,可口,linkedin,facebook,stumbleupon,digg,google,更多”,发布:“ ra-4dff56cd6bb1830b”}; var addthis_config = {“ data_track_addressbar”:true,“ ui_click”:true};添加到候选列表链接永久链接http://dx.doi.org/10.1080/08949468.2011.525492

著录项

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱:kefu@zhangqiaokeyan.com

京公网安备:11010802029741号 ICP备案号:京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有
  • 客服微信

  • 服务号