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Sacrificing Vernacular Cosmopolitanism for the Postcolonial Nation
Chua Beng Huat 연세대학교 영어영문학과 BK21 Plus 사업단 2020 Situations: Cultural Studies in the Asian Context Vol.13 No.1
Colonized territories tended to be populated by voluntary or involuntary immigrants, including convicts and indentured labour, self-motivated individuals in search of economic opportunities and, of course, small bands of colonial administrators. The multi-ethnic and multicultural composition was conducive to the cultural development of what could be called a “vernacular cosmopolitanism,” i.e. an understanding and acceptance of cultural differences derived from mundane, routine social interactions across ethnic-cultural boundaries in everyday life. As the migrants saw the colonized space exclusively in instrumental economic terms and their stay in this space as temporary, they developed scant affective investment for it. It was only after decolonization and the establishment of the new nation that the colonized space was transformed into a place for affective investment by the migrants turned citizen-subjects. And yet the dismantling and replacement of the colonial social order by a national political order often resulted in the marginalization of non-indigenous peoples long settled in the new nation. With few exceptions, in most postcolonial Asian nation-states, these conditions still prevail.
East Asian Pop Culture: Consumer Communities and Politics of the National
Chua Beng Huat 한국방송공사 2006 방송 문화 연구 Vol.18 No.1
At the beginning of the 21st century, the global arrival of East Asian pop cultures is most evident in the popularity of commercial Chinese and Korean cinemas. The success of Crouching Tiger, Hidden Dragon (2000) spawned a string of big budget wuxia(武俠) films from globally renowned Chinese directors, often with a pan-East Asian cast of Chinese, Japanese and Korean stars. Since 2000, the continuous flow of Korean films into the global market constitutes part of what has come to be known as the ‘Korean Wave’. At the regional level, the popularity of Japanese and Korean TV dramas have been used by newly established local TV stations in the rest of East Asia, as the vehicles to capture very significant shares of local audiences. The cross-border circulation of East Asian pop cultures has generated pan-East Asian consumer communities, ranging from avid fan clubs to geographically dispersed leisure consumers who are only vaguely aware of their ‘membership’ in the communities of consumers. Conversely, the popularity of border-crossing East Asian pop cultures has also generated local reactions against the ‘invasion’ of imported cultures, couched in xenophobic, nationalist cultural rhetoric. These reactions constitute part of the larger politics of the ‘popular’ of the specific East Asian location in question.