Helena Y.W. Wu
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781789621952
- eISBN:
- 9781800341661
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789621952.003.0004
- Subject:
- History, Cultural History
In Chapter 3, Tsang Tsou-choi—named “one of the oldest graffiti artists in the world” by the 50th Venice Biennale in 2003—comes into the picture. As a self-proclaimed “king” since the 1950s, Tsang ...
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In Chapter 3, Tsang Tsou-choi—named “one of the oldest graffiti artists in the world” by the 50th Venice Biennale in 2003—comes into the picture. As a self-proclaimed “king” since the 1950s, Tsang spent decades writing his family’s “(hi)stories” on different surfaces in the streets of Hong Kong, ranging from walls, lampposts and post boxes to electricity boxes. Alongside the writings he produced and the places he reinvented in the city, the connection Tsang made with the local territory and local history is examined in this chapter as a confluence of local relations which reverberate and fluctuate on their own according to different footprints and traces Tsang left in the city and in the mind of his fellow urban dwellers.Less
In Chapter 3, Tsang Tsou-choi—named “one of the oldest graffiti artists in the world” by the 50th Venice Biennale in 2003—comes into the picture. As a self-proclaimed “king” since the 1950s, Tsang spent decades writing his family’s “(hi)stories” on different surfaces in the streets of Hong Kong, ranging from walls, lampposts and post boxes to electricity boxes. Alongside the writings he produced and the places he reinvented in the city, the connection Tsang made with the local territory and local history is examined in this chapter as a confluence of local relations which reverberate and fluctuate on their own according to different footprints and traces Tsang left in the city and in the mind of his fellow urban dwellers.
Lia Brozgal
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781789622386
- eISBN:
- 9781800341289
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789622386.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies
Chapter 1 forms the essential foundation of the book, insofar as it names, describes, and thematises the contents of the anarchive—the cultural productions that have represented, directly or ...
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Chapter 1 forms the essential foundation of the book, insofar as it names, describes, and thematises the contents of the anarchive—the cultural productions that have represented, directly or obliquely, the stories of October 17. While anarchive is presented in 3 “waves”--the original scene (1961-1963); the return to the scene (1983-1999); and the post-Papon anarchive (1999-)—the chapter nonetheless seeks to tease out the limits of periodization, calling attention to continuities over time. Chapter 1 also looks at trends and problems within the anarchive, investigating, in particular: the “turn,” in the 3rd wave, to visual representation and performance; debates about demands for historical accuracy and truth in fiction; and the anarchive’s relationship to scholarship on cultural production and memory. This analysis is also infused with a concern for epi-phenomenal and meta-textual matters, how issues of circulation, translation, marketing, authorial status, genre, and medium bear upon interpretation.Less
Chapter 1 forms the essential foundation of the book, insofar as it names, describes, and thematises the contents of the anarchive—the cultural productions that have represented, directly or obliquely, the stories of October 17. While anarchive is presented in 3 “waves”--the original scene (1961-1963); the return to the scene (1983-1999); and the post-Papon anarchive (1999-)—the chapter nonetheless seeks to tease out the limits of periodization, calling attention to continuities over time. Chapter 1 also looks at trends and problems within the anarchive, investigating, in particular: the “turn,” in the 3rd wave, to visual representation and performance; debates about demands for historical accuracy and truth in fiction; and the anarchive’s relationship to scholarship on cultural production and memory. This analysis is also infused with a concern for epi-phenomenal and meta-textual matters, how issues of circulation, translation, marketing, authorial status, genre, and medium bear upon interpretation.
