Inter-Asia Cultural Studies最新文献

{"title":"Extravagant thrifters: online sales shopping and the making of “new frugalities” among the urban young in Kolkata","authors":"Runa Das Chaudhuri","doi":"10.1080/14649373.2023.2265698","DOIUrl":"https://doi.org/10.1080/14649373.2023.2265698","url":null,"abstract":"Online shopping among the young in India has attracted much attention from scholars but the carnivals of sales shopping in cyberspace have been relatively less explored. This article addresses this...","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"46 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138528234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"How committed is China to zero-COVID? Debating on how to execute China’s COVID policy","authors":"Yuanbo Qi, Ronghui Yang, Yijun Meng","doi":"10.1080/14649373.2023.2265700","DOIUrl":"https://doi.org/10.1080/14649373.2023.2265700","url":null,"abstract":"ABSTRACT China’s COVID programme has created a great deal of controversy. One of the primary aspects is whether China needs to implement a strict and harsh mass control strategy to stop the spreading virus. Based on prior research on China’s perceptions of its COVID policy, this article examines how China intends to contain the COVID by using content analysis of Chinese-language literature on the policy. It identifies four major suggestions to execute China’s COVID policy: governance coordination, public control, propaganda operation, and economic recovery. When debating how to carry out China’s COVID policy, it is discovered that governance coordination is the most popular method, followed by the idea of building a local community-engaged public control system to deal with COVID. Despite the top-down command to maintain a strict approach to COVID, this article argues that the diverse (and sometimes contradictory) domestic views on China’s COVID strategy and execution have made it difficult to predict China’s future policy and how long it will remain in place.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"1117 - 1129"},"PeriodicalIF":0.5,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139272020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Watching the romance together: the affective audiences in A Dream of Splendor","authors":"Ran Xi","doi":"10.1080/14649373.2023.2265699","DOIUrl":"https://doi.org/10.1080/14649373.2023.2265699","url":null,"abstract":"This research unfolds a new form of TV viewing experience that has enjoyed increasing popularity over a decade in Asia media ecology, which is realized through a participatory commenting interface ...","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"56 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138528222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Writing in solidarity: Gu Cangwu, Cultural Revolution, Cold War","authors":"Shuk Man Leung","doi":"10.1080/14649373.2023.2265697","DOIUrl":"https://doi.org/10.1080/14649373.2023.2265697","url":null,"abstract":"ABSTRACTThis article will shed light on the remarkable yet overlooked influence of the Cultural Revolution on renowned Hong Kong writer Gu Cangwu during the Cold War period. Through scrutinizing his untapped works in the 1970s, the article will argue that Gu Cangwu incorporated a Communist perspective in his observations of pivotal local, national, and global events in his poems and writings. Gu’s untapped works show his attempts to use Cultural Revolution ideology and Chinese nationalism as a source of resistance to British colonialism amid Hong Kong’s Defending Diaoyu Island Movement in 1971, a movement in which international recognition of Communist China at the United Nation sparked Gu’s nationalistic fervor and encouraged him to embrace critical realism. The article also puts Gu’s sympathetic portrayals of the Cultural Revolution and Vietnam War in juxtaposition with his decadent narratives of the 1972 Hong Kong landslides, showing that his effort to build local solidarity with Chinese nationals and the people suffering in the global conflict of the Cold War was based on a stance in opposition to capitalist-imperialist-colonial aggression. More significantly, transcending the simplistic Cold War binary between communist totalitarianism versus liberal capitalism and foregrounding the specific experience of the Cold War in the Hong Kong context, the case of Gu Cangwu demonstrates that the production of Hong Kong literature in the 1970s occurred at the intersection between local ideological contestation and global Cold War tensions.KEYWORDS: Gu cangwuCultural Revolutioncultural Cold WarHong Kong literature AcknowledgementsI would like to express my gratitude to the late author Gu Cangwu for giving me his precious time in the interview in 2018. Thanks to my research assistant Wong Shing Kit for his meticulous assistance. The work described in this paper was fully supported by Seed Fund for Basic Research for New Staff, The University of Hong Kong (201807159004).Special termsTableDownload CSVDisplay TableNotes1 The capitalized term “Communism” is particularly used to describe the ideology related to the Chinese Communist Party.2 The worst landslide day in Hong Kong’s history occurred on 18 June 1972. The Hong Kong Observatory measured 653 mm of rain, which was the second-highest amount of rain ever recorded there. Seventy-one persons lost their lives as a result of the mud that flooded more than 70 temporary wooden dwellings in the neighborhood of Sau Mau Ping. Gu Cangwu used the tragedy to criticize the colonial government’s lack of concern regarding the living conditions of underprivileged locals. (Hong Kong Geotechnical Engineering Office Citation2022).Additional informationNotes on contributorsShuk Man LeungShuk Man Leung is an Assistant Professor in the School of Chinese at the University of Hong Kong. Her research specializations include modern Chinese literature, Hong Kong literature, and print culture in Greater China. Her first book is U","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"6 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135934733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Deracinating ethnic minors: the affect of authoritarian certitude","authors":"Peng Hai","doi":"10.1080/14649373.2023.2265680","DOIUrl":"https://doi.org/10.1080/14649373.2023.2265680","url":null,"abstract":"ABSTRACTThe figure of the ethnic minor is a heavily inscribed representational subject in PRC cinema. Coming out of a socialist cinematic tradition as images of thoroughly assimilated, phlegmatic adults-in-waiting, the portrayal of ethnic children in PRC cinema today assumes more nuances as an art-house cinema verité aesthetics demands ethnic children enact their social presence in a complex network of social relations fraught with the tension between modernity and tradition, identity structures and their restructures. This paper examines two 2018 films about ethnic minors in Tibet and the Uyghur region of China—Wangdrak’s Rain Boots by Lhapal Gyal and A First Farewell by Wang Lina, respectively. Through the lenses of what Félix Guattari calls “partial subjectivity” and the “social machine,” the article demonstrates how the two films portray weather forecast and linguistic ability in Mandarin Chinese as socializing conduit of Chinese state power and produce for the ethnic children an affect of authoritarian certainty. The paper argues that those two films critique the PRC’s current ethnopolitical strategies in the said regions, which place a premium on a monoglot and monovocal articulation of a pan-Chinese identity at the cost of impoverishing a polyvocal ethno-social reality.KEYWORDS: TibetUyghursocial machinemicro-fascismFélix Guattarifigure of the child Special termsTableDisplay TableNotes1 A First Farewell won the Crystal Bear of the Generation Kplus section at Berlinale and the Asian Future Best Film award in Tokyo. Wangdrak's Rain Boots nominated for the Crystal Bear at Berlinale.2 The editor for A First Farewell, for example, is Frenchman Matthieu Laclau, who had previously edited several films by the award-winning Chinese filmmaker Jia Zhangke. Wangdrak’s Rain Boots was co-produced by Bai Yang, Yu Jianhong, two Chinese and Sonam Gyal, a Tibetan.3 Observed on the ninth day of the ninth month in the Chinese calendar, Chong Yang is a traditional Chinese holiday which involves paying respects to one’s elderly, deceased or alive.4 Guattari uses this term to describe apparatuses that have a homogenizing effect on a mass society, see Guattari, Chaosmosis, 30.5 Tibetan culture speaks of unrelated social relations in kinship terms as a way of showing respect, here the suffix aku (ཨ་ཁུ་) is a Tibetan kinship term meaning paternal uncle.6 This is a universal slogan that graces every primary school across China in adherence to article 19 of the Chinese Constitution and more specifically the Law of the People’s Republic of China on the Standard Spoken and Written Chinese Language promulgated in January 2001.Additional informationNotes on contributorsPeng HaiPeng Hai is an assistant professor of modern China and Inner Asia in the Department of History at the University of Pittsburgh.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"172 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136067581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Interrogating Hong Kong’s Cold War settlement: a Christian perspective","authors":"Brian Tsui","doi":"10.1080/14649373.2023.2265696","DOIUrl":"https://doi.org/10.1080/14649373.2023.2265696","url":null,"abstract":"ABSTRACTThis article explores Ronald Owen Hall, the Anglican bishop of Hong Kong, as an unlikely critic of the city’s Cold War settlement in the 1950s. By examining his sermons and writings and putting them into dialogue with pronouncements of the Hong Kong government and the colonial governor Alexander Grantham, it reconstructs a moral counterpoint to a sociopolitical project that pitched the colony as an economic city and as the “Berlin of the East”—an enclave of capitalist “freedom” on the doorstep of Communist China. Grantham and his administration saw the city’s Chinese population as a source of capital, labor, or security threat. Local residents, including those who recently crossed the border from mainland China, were not so much citizens as either contributors to industrial development or potential fuel for Communist menace. Hall, on the other hand, saw communism as less a threat to the colony than a sign of the society’s inability to provide for the poor and the weak. He extolled his flock to embrace Chinese nationhood instead of languishing in an atomized, profit-pursuing society. Set against the social context the colonial state created for Hong Kong, Hall offered an alternative vision that transcended Cold War binaries, capitalist values, and the nation-state logic based on his locally-embedded Christian faith.KEYWORDS: Ronald Owen HallAlexander granthamChristianityMoral criticismCold warCommunismNationhood Special termsTableDownload CSVDisplay TableNotes1 This article uses “communism” to refer to ideals that individuals embraced and “Communist” to identify members of actual Communist parties, particularly the Chinese variant. This distinction is important as not all individuals who embraced communist tenets were members of Communist parties. Exceptions are made for original texts cited and in observance of grammatical conventions.2 See Hon and Chan in this issue.3 Elite Chinese in Hong Kong had throughout the twentieth-century worked closely with British rulers, thus buttressing colonial power. Collaboration took institutional forms such as social services and education, but it also, Law Wing Sang (Citation2009) stresses, found its way into cultural expressions and national identities. Law stresses that complicity with colonial power was not antithetical but could rather inform collaborators’ Chinese nationalism. Hall was obviously not ethnic Chinese but the schools and philanthropic organizations he oversaw contributed to this type of collaboration. This article echoes Law in moving beyond strictly political examination of colonial rule and submits that the cleric’s musings on the nation complement and complicate Law’s inquiry into the dynamics of colonialism and Chinese identities.4 Indeed, as Alan Smart (Citation2006, 3) convincingly argues, one critical motivation of the Hong Kong government to resettle victims of squatter fires in publicly built apartments—celebrated in colonial propaganda as state benevolence—was to counter int","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136068278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ambivalence of entertainment: the Cold War and pro-communist Mandarin cinema","authors":"Po-Shek Fu, Man-Fung Yip","doi":"10.1080/14649373.2023.2265694","DOIUrl":"https://doi.org/10.1080/14649373.2023.2265694","url":null,"abstract":"ABSTRACTColonial Hong Kong was a transregional hub of Cold War ideological confrontation. The United States and its Chinese ally, Chiang Kai-shek’s Taiwan, struggled with Beijing for the hearts of overseas Chinese in Southeast Asia and around the world. Pro-Communist émigré cinema in the mid-twentieth century was a prime cultural manifestation of this Cold War contest. After an initial period of radicalization and antagonism, the pro-Communist studios in Hong Kong gradually shifted to a moderate approach whose goal was not to undermine British colonial rule or espouse revolutionary ideologies. Rather, the new strategy was one of flexibility and restraint that aimed to maintain a strategic presence in the local film industry and serve as a point of contact for overseas Chinese. Later, with the emergence of two pro-Free China giant studios, Motion Pictures & General Investment Co. Ltd. and Shaw Brothers, the cinematic ecosystem in Hong Kong was significantly altered. In order to hold on to their market presence in an increasingly more competitive environment, pro-Communist film companies embraced a more entertainment-oriented ethos and experimented with various popular genres, while struggling to remain truthful to their ideal of “guiding people to do good.” With in-depth analysis of two popular films by Zhu Shilin, The Dividing Wall (Yibang zhi ge) and Sweet as Honey (Tiantian mimi), this essay seeks to historicize the ways in which the Beijing-sponsored film establishment in 1950s Hong Kong negotiated and balanced a changing set of political, ideological, and commercial interests in pursuit of its strategic mission.KEYWORDS: Cinematic ecosystemcold warmarch first incidentZhu ShilinChang-Feng-Xin Special termsTableDownload CSVDisplay TableNotes1 Box-office statistics from 1950s Hong Kong are hard to come by, but the limited evidence we have does indicate the market success of “Patriotic” films. In 1951, for instance, Li Pingqian’s A Night-Time Wife (Jin hun ji), a Great Wall production, was the highest grossing Mandarin-language film in Hong Kong, followed by three productions—Zhu Shilin’s Should They Marry? (Wu jiaqi) and Flower Girl (Hua guniang), and Wang Weiyi’s The Fiery Phoenix (Huo fenghuang)—by Loon-Ma and Wushi niandai, the two companies that would merge to become Feng Huang (“Yi jiu wu yi nian” 1952). Similarly, three films by Great Wall—Yue Feng’s Modern Red Chamber Dream (Xin honglou meng),Tao Qin’s Father Marries Again (Yi jia chun), and Li Pingqian’s Honeymoon (Miyue)—held the top-grossing spots in 1952, while Zhu Shilin’s The Dividing Wall was at the sixth place (Wang Citation1953). In 1955, Hu Xiaofeng’s Loves of the Youngsters (Da Ernü jing) came in third place, while topping the box-office chart was Sang Hu and Huang Sha’s The Romance of Liang Shanbo and Zhu Yingtai (Liang Shanbo yu Zhu Yingtai, 1954), a Shanghai Yue opera film from China whose immense success in Hong Kong, as we shall see, would pave the way for the trend of cos","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136068416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction: localizing Cold War experiences in Hong Kong","authors":"Brian Tsui","doi":"10.1080/14649373.2023.2265693","DOIUrl":"https://doi.org/10.1080/14649373.2023.2265693","url":null,"abstract":"","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"49 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136067418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A historical garden and a student centre: two memorial landscapes to reposition Hong Kong, 1959–1968","authors":"Tze-ki Hon, Chan Hok-yin","doi":"10.1080/14649373.2023.2265695","DOIUrl":"https://doi.org/10.1080/14649373.2023.2265695","url":null,"abstract":"ABSTRACTSpace is not only a concrete object but also a symbol. The symbolic meaning of space is particularly clear in a memorial landscape—a special spatial arrangement to evoke or enforce a collective memory. In this article, we will examine two memorial landscapes of Cold War Hong Kong: the Sung Wong Toi Garden in Kowloon Bay and the Benjamin Franklin Centre of the Chinese University of Hong Kong in the New Territories. Opened in 1958 and 1969, respectively, these two memorial landscapes were part of the British government’s attempt to re-position Hong Kong in the bipolar global system. By highlighting Hong Kong’s roots in Chinese history (as shown in the Sung Wong Toi Garden), the British government took the city out of “Red China” (which rejected Chinese tradition) and inserted it into “Cultural China” (which supported Chinese tradition). By highlighting Hong Kong’s commitment to higher education (as shown in the Benjamin Franklin Centre), the British government included the city into the “Free World” of market economy and industrial modernization. Together, these two memorial landscapes signified a fundamental shift in Hong Kong’s position in the world. Instead of being an entrepot serving British corporations in the China trade, Hong Kong became a strategic node in the global competition between communism and capitalism, authoritarianism and democracy, the planned economy and the market economy. In these two memorial landscapes, we see how space can be configurated to win hearts and minds.KEYWORDS: Benjamin Franklin CentreBerlin of the EastCold Warmemorial landscapeSung Wong Toi Garden Special termsTableDownload CSVDisplay TableNotes1 As is well known, the dominant language in Hong Kong is Cantonese, not Mandarin. Thus, in this article, names are given in Cantonese as the locals say them. But for readers who do not speak Cantonese, pinyin are also provided. When referring to Chinese characters, only pinyin is given.2 Although the three characters written on the rock were Song Wang Tai (Song King’s Terrace), they were read by the Qing loyalists of the 1920s as Song Huang Tai (Song Emperor’s Terrace). Behind this subtle change in reading the three characters lay the loyalists’ attempt to give the Southern Song loyalists the legitimacy in fighting against the Mongols. For the Qing loyalists, the Song loyalists were fighting to keep the Song Dynasty alive even though the odds were stacked against them. They were risking their lives to make a moral statement, that is, they would rather die than succumbing to the Mongols’ rule. In reading Song Wang Tai as Song Huang Tai, the Qing loyalists affirmed the nobility of failure of the Song loyalists’ futile attempt to resuscitate the Song Dynasty. By the same token, the Qing loyalists used the nobility of failure of the Song loyalists to glorify their own futile attempt to resuscitate the Qing dynasty.3 In this quotation, I keep the original English spellings of Chinese names which rendered Cantonese i","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136068412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Can the village speak? Leftist Assignment Theater and documentary theater in Taiwan","authors":"Chun-yen Wang","doi":"10.1080/14649373.2023.2265679","DOIUrl":"https://doi.org/10.1080/14649373.2023.2265679","url":null,"abstract":"ABSTRACTThis essay examines the genre of documentary theater with a particular focus on environment issues by the theater group “Assignment Theater” (chaishi juchang). Chung Chiao, the founding leader of Assignment Theater, was inspired by Taiwanese leftist writer Chen Ying-zhen and began his collaboration with People’s theater groups in many Asian countries since the 1990s post-Cold war period. Chung investigates histories, social issues and current circumstances through testimonial performances and documentary dramas with villagers, aiming to develop esthetic and critical reflections on social and cultural issues. In 2016, Chung directed and produced a work of documentary theater entitled Return to Hometown: A Story of Taixi Village by focusing on how villagers were suffering from severe air pollution, marginalization, and the complexity of their experiences since the launch of the Formosa Plastics Corp’s (FPC) sixth naphtha cracker complex in 1998. The essay starts with a critical question raised by Spivak’s “Can the Subaltern Speak” in the hope of re-locating the question in Return to Hometown. It continues to explore how Assignment Theater positions itself in the historical context of the leftist movement in post-war Taiwan by paying attention to the people. By re-examining the above, the essay discusses the ways in which environmental discourses, the village people, documentary theater, and the imagined subject of Taiwan nationality, etc. are interwoven.KEYWORDS: Assignment TheaterChung Chiaodocumentary theaterpeople’s theaterleftist movementTaiwan theaterthe people Special termsTableDownload CSVDisplay TableNotes1 The original definition in Chinese goes as follows: “民眾劇場，屬於人民、由人民創作、為人民發聲的劇場。”2 For more information about “Assignment Theater,” please see: https://taiwantop.ncafroc.org.tw/group_detail/800.3 A documentary theater is a performance based on facts, as documented in materials such as records, films, newspapers, official reports, and transcripts of trials. See The Concise Oxford Companion to the Theatre (Citation1972).4 The original manifesto in Chinese goes as follows: “孤魂即是生前孤獨死後無處可依的靈魂之稱，其悲慘哀痛猶如活在現代的無產階級，依此，組織孤魂聯盟，竭力於無產階級解放運動” (Wang Citation1989, 22).5 Also referred to as “Theatre of testimony,” introduced by Loren Kruger. It is a theater term by constituting theater as a “virtual public sphere” with an expression of performers’ or participants’ role as of “witness” to the political events in South Africa (Kruger Citation2019). It also refers to the theatre “conventionally associated with the anti-apartheid movement.” See https://esat.sun.ac.za/index.php/Testimonial_theatre.6 The Meinong Dam was initially planned to build, yet the Meinong People’s Association was formed by bringing together environmental, cultural, artist and social groups to organize a series of protests against the plan. For more information, please see Community Identity and Homeland Discourse: A Case Study of the Jiao-gong Band in the Meinung Anti-Dam Moveme","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"44 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136381628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}