The Visual Cultures of Hong Kong VIS 211/GE331 Sem 2 (2008- 09)

The Visual Cultures of Hong Kong VIS 211/GE331 Sem 2 (2008- 09)
Adjusted dates
Course Outline and Assessment Tasks

Lecture: Monday 11:30-1:20 (MBG12) Tutorials: Tuesday 4:00 (ARG05)
Lecturer: Dr Carol Archer Thursday 1:30 (ARG05)
Email: carcher@ln.edu.hk Phone: 2616 7458
Office hours: GE202/21, Tuesday 2:30-4, Thursday 3-5:30

Course Description

This course explores the visual cultures of contemporary Hong Kong. The first two units of the course examine contemporary Hong Kong visual culture from a broadly historical perspective, with special emphasis on the impact of two important events - the 1997 Handover and the 2003 SARS crisis. In the first unit, we look at visual productions from the period immediately before, during and after the Handover, examining
paintings, photographs, video art, sculptures and installation art. The second unit considers the ways that local identity was represented in art that responds to the 2003 SARS outbreak. The third unit turns to the city and urban space in Hong Kong. Diversely interpreted by photographers, filmmakers and other artists, the city may also be seen as keenly contested space. We compare such representations of Hong Kong with parallel developments in neighbouring Macao.

Policy on readings and participation

All students are expected to do the required reading before each week's classes. Required readings may be found on the webct site for our course, along with scans of key works of art. Please bring the relevant readings to both classes each week. Active participation is very important in this course.

Assessment
60% Continuous assessment

25% Mid-term research paper (5-6 double-spaced pages, 1500-1800 words, due by 5pm, Friday March 27 at Philo Dept Office, GE201/23)
20% Individual Presentation (Weeks 3-13 – key images and notes to be uploaded to blog “Visual HK 2009” at http://visualhk09.blogspot.com)
15% Participation

40% Final examination (2 hours duration)

I. Hong Kong Visual Art – from the Handover to the Present

1. Jan 19 Introduction

This class outlines the breadth and topics to be covered in the course, the approach that we will take, and the tasks and practices necessary to successfully complete the course.

2. Feb 9 Handover Art and HK Identity I

We look at the tension between Western and Chinese influence in Hong Kong art, before moving on to examine the variety of ways in which the approaching Handover impacted on local visual production.

Reading for Feb 9 and Feb 16 classes: David Clarke, "Living in the Shadow of the Future", in Hong Kong Art: Culture and Decolonisation, North Carolina: Duke, 2002, 38-69, especially 38-55.

Further reading: Robert Hobbs, “Hong Kong Now” (8-18), “Lucia Cheung” (19-21) and “Wong Shun-kit” (41-43). In Hong Kong Now: Essays by Robert Hobbs. Seattle and London: University of Washington Press, 1997

3. Feb 16 Handover Art and HK identity II
In this class we examine filmic responses to the Handover, and in particular
Mr Cinema (dir. Samson Chui, 2007). We look at the ways that HK history and identity is represented in this film, and consider the criticism that the film omits significant events.

Works for tutorial discussion:
Mr Cinema (dir. Samson Chui, 2007).
Wong Shun-kit, Waiting, 1996 and Basic Space, 1995
Phoebe Man Reunification with China, I am happy…, 1997
Desmond Kum Chi-keung, Transition Space, 1995
Lee Ka-sing, The Hero Playing with a Red Rubber Band, 1995

4. Feb 23 Installation Art

With the advent of new artist-run spaces such as Para/Site, installation art emerged in the second half of the 1990’s as a popular and influential visual medium in Hong Kong. This class focuses on the rise of installation art in Hong Kong.

Reading: David Clarke, "Para/Site Art Space", 70-99

Works for tutorial discussion:
Kith Tsang, Hello! Hong Kong- Part 3, 1996 and Hello! Hong Kong- Part 7, 1997 and The Storage of Amnesia, 2000
Sarah Wong, Site-Seeing I, 1996 and Phoebe Man, Site-Seeing, 1996
Phoebe Man, A Present for her Growth I, 1996

5. March 2 A City in Transition

In this class we examine the impacts of the Handover on architecture, street art and graffiti, window displays, advertising and fashion.

Reading: David Clarke, "The Visual Production of a Transition", 151-202 especially 175-202

Works for tutorial discussion:
Graffiti of Tsang Tsou Choi (King of Kowloon)
Handover period window displays, fashion designs and advertising (see Clarke chapter)

6. March 9 Made in Hong Kong: Contemporary Hong Kong Art Our focus in this class are two exhibitions of contemporary Hong Kong visual art –“Made in Hong Kong” (2007) and “Hong Kong, Hong Kong” (2008). In what ways do the works in this show represent a continuation of (or a departure from) the concerns noted in the works of art discussed in our previous classes?

Reading: “Made in Hong Kong”, Hong Kong: Hong Kong Museum of Art, 2007 (brochure and factsheet) ; Press Release for “Hong Kong, Hong Kong”, HanartTZ Gallery, 1-6.

Works for tutorial discussion:
Luis Chan, Sai Kung X, 1976
Chow Chun Fa, Front Page, ‘Hong Kong will still be a Paradise’ 2008; Repainting “10th Anniversary of Reunification” 2007, Repainting ‘Infernal Affairs’, 2007
Chu Hing Wah, Child Forever, 1992
Frog King Kwok (Kwok Mang-ho), Frog King Mobile Museum, 2007
Kum Chi-keung, Free, Walking 2007, Wandering in Space 2007
Wan Qingli, A Scoop, 2003, In the Middle of the Song, No one is in Sight, 2003

II. SARS AND CONTEMPORARY VISUAL PRODUCTION

7. March 16 Representations of the SARS crisis in visual art and film I
In 2003, the impact of the SARS crisis was felt to some degree by everyone in Hong Kong. How did filmmakers respond? This class focuses on the representation of SARS in Golden Chicken 2 (Samson Chui, 2003)

Work for tutorial discussion: Golden Chicken 2 (Samson Chui, 2003)

8. March 23 Representations of the SARS crisis in visual art and film II
In this class we look at the representation of SARS presented in the short films by the prominent Hong Kong directors who participated in the 1:99 Short films (2003) initiative.

Reading: Yau Wing Kit Vicky, Representing Illness: Patients, Monsters, and Microbes, M. Phil thesis, Department of Comparative Literature, University of Hong Kong, 82-130

Work for tutorial discussion: 1:99 Short Films (2003)

Mid-term research paper due by 5pm Friday March 27
Philosophy Dept Office GE212/23

III. THE CITY AND URBAN SPACE

9. March 30 Branding the city
In this class we look at the ways the city of Hong Kong is represented in popular film, and how these are linked both to local identity and the “branding” of the city as a tourist destination. We look in particular at the ways that Hong Kong is officially represented in current tourism campaigns and in the film “My Life as McDull” (dir. Toe Yuen, 2001).

Reading: Stephanie Donald and John G. Gammack. “Structures of Attention and the City of Life Hong Kong”. In Donald and Gammack, Tourism and the Branded City: film and identity on the Pacific Rim”. London: Ashgate, 2007. 63-86.

Works for tutorial discussion:
Hong Kong Tourism Board website (http://www.hktourismboard.com)
“My Life as McDull” (dir. Toe Yuen, 2001).


10. April 6 Mapping the City – competing visual representations of Hong Kong
The city of Hong Kong has provided a rich source of inspiration for contemporary photographers and filmmakers. This class surveys the diverse ways in which Hong Kong has been visually represented using the mediums of photography and film.

Reading: Guterriez and Portefaix, “Liquid Journey, Central Mid-levels Escalator”, HINGE, 54, 03.1999
Vincent Yu, Our Home: Shek Kip Mei 1954-2006. Hong Kong: MCCM Creations, 2007
Kenneth Lo, Nathan Road, Hong Kong: MCCM Creations, 2007


Works for tutorial discussion:
· Guterriez and Portefaix, Mid-levels Escalator
· Vincent Yu, Shek Kip Mei 1954-2006 series of photographs
· Kenneth Lo, Nathan Road series of photographs
· Mathias Woo, “Hong Kong Style” 2006

11. April 20 Representing Macao
In this class we look at artistic responses to the rapidly changing region of Macao, two of which represented Macao in its first ever entry to the Venice Biennale in 2007. We compare the ways in which Macao and Hong Kong have been visually represented in recent years.

Reading: Carol Archer “Edictum Ridiculum: Konstantin Bessmertny”. In Macau Closer, July/ August, 2007; Carol Archer, “Spaces in Transition: Photographs by Adam Lampton”, Macau Closer, September 2007; Lui Brothers, Macau Closer

Works for tutorial discussion:
Konstantin Bessmertny: Si Monumentum Requiris, Circumspice, 2007
Adam Lampton: Macao photographs
Lui Brothers: Macao’s Gondola, 2007

12. April 27 Review - key themes and visual images
This class reassesses Hong Kong visual culture from the point of view of the themes, issues and visual images encountered in the course.

Assessment

Tutorial presentations
Each week 2 students discuss a particular visual production (eg film, photograph, painting, fashion etc) related to that week’s lecture. These works are listed in the course outline and on the classblog (which may be accessed through webct). The pictures may all be found in “Images” folder on Webct. The maximum duration of each presentation is 5 minutes.

A good presentation will include:

details of the work – artist, title, year, media etc
what the required reading has to say about this work
additional information you have found about it – you may show additional images of the work, or images of one similar work by the same artist, and share one or two key quotes about the work
your own opinion of the work and its significance
a list of the names of authors, titles of articles, books or websites (along with the publication information) that are especially relevant to this work
one thought-provoking question on the topic for your tutorial group

Before or on the day of your presentation please upload the key details of your presentation to the classblog. The link to the blog is on our webct site. Our username is Carolarchersclass and the password is 11112222. This blog will provide a useful and convenient study reference for all class members.

Mid-term Research Paper
Due date: Friday March 27 at Philo dept office GE201/23

Length and format: 1500 - 1800 words/ 5-6 double-spaced pages

Attached to the front of your essay should be:
1) the VS Programme “Anti-plagiarism declaration” (available on our webct site)
2) a title page listing your name, the essay question that you are answering and the course details.
At the end of your essay there should be a reference list, which lists the books and articles and websites that you used in preparing your work.

Note on proper acknowledgement of sources (avoiding plagiarism):

The words and ideas of other writers (whether they have been put into your own words or appear within quotation marks) should be properly acknowledged within the essay and in the reference list at the end of the essay. The Chicago Style Guide has been adopted by the Visual Studies Programme and has been posted on webct for your reference.

Mid-term Essay questions

1. Hong Kong art reveals different attitudes to the Handover. Discuss this statement, supporting your point of view with a detailed discussion of three of the artworks listed for tutorial discussion.

2. “The installation art that appeared at Para/Site during the Handover period reminds us of local Hong Kong culture, and its loss”. Referring to several of the listed installation works, discuss the extent to which you agree with this statement.

3. Compare and contrast the way in which the SARS crisis is presented in two of the Hong Kong films discussed in class. Support your opinion with a detailed discussion of relevant parts of those films, and quotes from relevant sources.

4. Which visual production (eg film, art, fashion, advertisement, etc) from this course impresses you most? What does it communicate? Back up your opinion with a detailed description of the work, and quotes from relevant texts.

Final Examination held during examination period

The examination (two hours in duration) will comprise short answer and essay questions. Questions will be based on the topics and works covered during the entire course.