Lecture Notes for Oct 26, 2010

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29 Nov 2010
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EAS209 2010-10-26
¾ Today Æ last section on geography
¾ R 3-ñW}(XÌÇv[K((],}µ
¾ Next topic Æ Problem of human subjectivity
o Human subjectivity is never far away from time and space
o E}^ÁZ}u/M_
o µUÁZ]Z]ZÁooZZµuv]vP[M
o To what extent is myself exceed what I understand as myself..as my body
o tZ}v]µvZ/[M
o tZZv}ZZ/[ÁZvÁZÀ](]]oo]uM
 dv(}u]}v}(Z/[Æ just like how the concept of Orient changes over time
ž Hong Kong
o Visible space remains the same
o But in 1997, radical change
¾ Exam Æ focus more on the last part of the class (problem of human subjectivity)
ž Essay t argue for a connection
ž Last Week
o Surveillance and control is being built into the architecture of the institutions
o Shaping the way one exists in space, and how one imagines
o Fujitani
 Visuality
 Emperor System
x /[v}}voÇZZu}o}}l]vPÀÇ}vUµÇ}µo}}l]vP
at the emperor
x New modern subjects looking at the emperor Æ making the meaning of
the emperor
o Centralizing function in Meiji
ž Anecdote t world famous opera singer, being interviewed by a young journalist in the afternoon
before the evening performance Æ µ]}vW^Ç}µZP}o]À]vP}]vPtv
opera, and I know you performed it over 100s of timU][PÇÆ by the final act, all the
Z}P]]vPµ]ZXtZvÇ}µ[]vP]vZ(]UZÀ]vP}uµZZ}t feel as if you
yourself have µZZYµZvZvUÇ}µ[}ÇX,}ÁÇ}µ}]oÇo
to produce so mµZZ}UÁZvÇ}µlv}Á][P}]vP}end in tragedy?
o ,]vÁW^µ]vZ(]U/}v[lv}ÁÁZ[P}]vP}Zv]vZZ]
_Æ Pvµ]voÇ}v[lv}ÁÁZ[P}]vP}Zv~]vZÀv]vPUZ[(]]v
the opera, and the performance gets cancelled)
ž Limitations and possibility of action of what one can do is inescapably shaped by a space
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o If space changes, different possibilities of limitations change as well
ž Keirstead article
o dZ[]vÇ}(o}P]}(t forms spatial imagination
o Medieval , early modern, and modern
o 1100~1600: Medieval, 1600~1868: early modern, 1868~: modern
 Medieval space: not beginning to end; could have gone into different directions
x We impose our present on to medieval
x We impose our understanding of our time on to medieval
o Qualitively different type of spatial imagination
o Two kinds of spaces Æ Gardens and states
 Garden Æ no beginning, no end
 Ambivulatory t have movement
o Film
 Meaning of the film exists in itself
 Exists whether we watch it or not
 How we interpret it
 Time and Space
x Dominant form Æ time is there, history is there, and we go to access it
o Questioned it. The act of mapping, the act of telling history
forms the history /geography itself
 How might a film maker negotiate that? Give up some of autonomy, recognizing
that film only exists when there is an audience for it
x The craziest person is a king who knows his kingness
o In order to become a king, there needs to be people, etc.
(cannot become a king himself)
ž Wang Kai War - Chungking Express, 1994
o 3 years before return on Hong Kong to China from British colonial rule
o Beginning of the film
x Provoking your habits of viewing the film
x Understanding the space
 Introduced to Bridget Lin (blond woman), South Indian community (geography
of Hong Kong; division)
x Last featured film
x Grows up in Taiwan
 ^/ÁZo}}Zt ìXìíuÁÇ_
x DvP]vUPo}Y
x Will meet her again in 57 hours, and will fall in love with her
x Kaneshiro Æ a new actor
o a cop
o Speaking in Mandarin when overdubbing the voice (in Hong
Kong)
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