Hyun Ok Park, On Politics after 12.3 Insurrection in South Korea 

Quickly ruled an “insurrection,” the rogue invocation of martial law in South Korea on December 3rd was a self-coup by President Yoon Suk Yeol to maintain his grip on power. During his two-and-a-half-year presidency up to that point, Yoon had vetoed 25 National Assembly resolutions, including five that sought to appoint special prosecutors to investigate him and his wife over allegations of illicit financial dealings and undue influence in nominating candidates for public office. In the months leading up to the insurrection, calls for Yoon’s impeachment were spreading rapidly across diverse sectors of society. Minority parties, scholars, filmmakers, and countless individuals voiced their dissent, many sharing personal statements on social media. When martial law was declared, the public shock extended beyond the decree itself to Yoon’s unconvincing and lackluster delivery. His dull tone and puppet-like recitation of what appeared to be someone else’s will failed to convey the urgency of a national emergency allegedly posed by the threats from “anti-state forces” (pan-kukka seryŏk). After all, the notion of a genuine threat from North Korea has long ceased to resonate seriously in South Korea. Recent incidents, such as drones from the North carrying trivial cargo, were little more than fleeting distractions in the bustle of daily life. News of the martial law declaration quickly set social media, YouTube, and podcasts ablaze with laughter and cynicism. Many dismissed it as a rash, impulsive decision—perhaps fueled by Yoon’s rumored habitual drinking—or as a political misstep amounting to self-sabotage. Others saw it as a desperate attempt to sever ties with the pervasive influence of his wife, widely perceived as the true power behind his presidency.

Despite lasting only about six hours, the botched martial law declaration, still, transported South Korean society back to 1980, evoking memories of the military-declared martial law that led to the massacre of civilians in Kwangju. The trauma of state violence, deeply etched in individual and family memories, inspired Han Kang’s Human Acts—a novel that gained renewed attention as Han received the 2024 Nobel Prize in Literature. However, the differences between 1980 and today are stark. The earlier martial law was imposed under military rule; this time, it was declared under liberal democracy. Yet the language of the latest decree is even more chilling. It explicitly called for the “arrest, detainment, and elimination of anti-state forces” which referred to his political rivals, whereas the 1980 decree banned political activities only, with arrests and killings carried out unofficially. Concurrently, another historical echo is now playing out in the realm of popular politics. The candlelight impeachment protests have resumed once again in the freezing winter, this time demanding the removal of President Yoon, recalling the 2016–2017 protests that led to the impeachment of Park Geun-hye. The anticipated sequence of events—impeachment, a new presidential election, and the transfer of power to the centrist Democratic Party—feels like a rerun of the past. 

Despite the celebratory framing of mass protests as bold defenses of democracy, I find Marx’s dictum—“history repeats itself, first as tragedy, second as farce”—a more fitting description of this cyclical pattern. Still, I think the direction of the South Korean future is not yet determined. That’s why we need to talk about the tripartite crises of liberal democracy, capitalism, and leftist politics (with a promissory note), in which the candlelight protest has become a new normal. Assessing these crises and asking where and how this repeated cycle of politics can be broken is key to charting a new path forward.

Immediately after the botched insurrection, the National Assembly’s defense and judiciary committees convened emergency meetings, summoning several cabinet members and military chiefs suspected of collaborating with President Yoon to testify. The inquiry painstakingly reconstructed the insurrection, interrogating suspects and collaborators on critical details: the exact wording exchanged during the cabinet meeting that approved the martial law declaration, who attended, who voiced apprehension or outright opposition, the frequency of phone calls from Yoon, the legal and illegal chains of command, and the deployment of special forces and their numbers and movements throughout the six-hour martial law period. A major feat of the investigation at the National Assembly is the identification of Yoon as the chief architect of the insurrection, as his conservative party and the prosecutor’s office, still under his influence, are likely to contest this charge.

In detail, in a mere span of one week, the investigation unearthed startling revelations so far: the coup to secure power indefinitely had been planned step-by-step since early 2024, and its failure stemmed from a fractured military command. In the months preceding the insurrection, Yoon had strategically appointed his high school alumni to key strategic posts, including the defense minister and chiefs of crucial military divisions. Under their command, the military began recruiting soldiers into special units, ostensibly to prepare for potential terrorist threats from North Korea following a series of drone provocations. These special forces underwent months of training and were placed on high alert on the day martial law was declared. Immediately following the declaration, the special teams were deployed to two key locations: the National Election Commission, under the guise of securing evidence of alleged irregularities in the June 2024 general election in which the minority Democratic Party had won a landslide victory; and the National Assembly, to prevent legislators from convening and voting to repeal martial law. Simultaneously, others were tasked with arresting opposition leaders with plans to detain them in a secret bunker. Further investigations filled in the gaps. The troops were instructed to seize the main server of the National Election Commission to plant fabricated evidence of fraud in the June election and then call for a new election with a pre-determined outcome. The detention of a prominent journalist and a political strategist, both aligned with the Democratic Party, was intended to coerce them into legitimizing the fabricated election results. Plans for Day 2 of the martial law also included deploying additional special forces throughout Seoul, suggesting an escalation of authoritarian control. A special force was prepared to provoke skirmishes with North Korea or cause violence in the society by posing as North Korean agents. These revelations have not only intensified public outrage but also highlighted the calculated planning and perilous ambitions underlying the failed coup. This effort likely began at the beginning of Yoon’s presidency when he relocated the presidential office to the Ministry of National Defense.

It turns out that this orchestrated plan quickly unraveled on that day due to a combination of poor coordination, bad timing, and critical acts of defiance. The Vice Defense Minister, mid-level military commanders, and rank-and-file soldiers refused to execute key orders. Additionally, declarations of conscience from military chiefs, along with anonymous tips—some of which had been sent for months to the Democratic Party but were previously ignored—enabled minority parties to expose the collaborators’ lies during live televised investigations. As continuous breaking news unfolded over the past week, citizens, glued to TV screens and social media, occasionally breathed sighs of relief when signs of democracy holding firm emerged. Soldiers from the MZ (Millennial and Gen Z) generation, who were dispatched to arrest politicians and others, instead spent their time eating ramen and snacks at convenience stores. Those sent to the National Election Commission left after merely photographing server cables. One particularly notable revelation came from the Chief of the 707th Special Mission Force, who made a conscience statement after the Ministry of National Defense canceled his testimony before the National Assembly. According to him, he had misunderstood his mission at the National Assembly, believing he was there to counter terrorist attacks. Unfamiliar with the National Assembly Complex, he relied on Kakao Map (a local equivalent of Google Maps) to navigate the premises, only to discover that the area was far too large for his initial team of 96 team members to secure effectively. The troops also faced unexpected resistance from party staff and citizens who had quickly arrived at the scene. In their confusion, while moving between the front and rear gates of the complex, the unit fell into disarray and lost communication. When about 20 soldiers managed to enter a building after breaking windows, they were immediately met with the discharge of activated fire extinguishers, further disrupting their efforts. Facing an increasingly untenable situation, the chief ordered a retreat, ultimately abandoning the directive to “drag out legislators.” 

Citizens at the National Assembly Complex commended the troops for avoiding violent confrontations with civilians during the chaotic operation. They helped a fallen soldier back to his feet and expressed appreciation for a young special forces member who bowed repeatedly, saying, “I am sorry.” Under the neoliberal mantra of self-survival, acts of conscience and refusal of soldiers to execute what they deemed “bullshit” or “absurd” orders can be interpreted as a manifestation of “every man for himself,” especially given that two former presidents who orchestrated the 1980 coup d’état were sentenced to death. Nevertheless, they seemed to provide a powerful affirmation that democracy still held a firm grip. These missteps, combined with individual acts of conscience and resistance, seemed to affirm the fragile yet ultimately formidable nature of South Korean democracy. The post-insurrection investigation has revealed an unexpected competence among minority party legislators and leaders, who had previously been criticized as ineffective. For many, this moment symbolizes a broader narrative of progress in South Korean history, showcasing the resilience of democratic values and the potential for growth even amid crises.

However, this swift and methodical investigation conducted by the minority parties at the National Assembly exemplifies a liberal democracy that puts procedures above all else. Buried in the procedures is the very crisis of liberal democracy in South Korea, which caused Yoon’s coup d’etat in the first place. In my view, Yoon’s declaration of martial law was not an aberration but an extension of liberal democracy itself. Though chilling and unprecedented, the use of the term “execute” (chŏdan) in the martial law decree to “arrest, detain, . . . and execute” anti-state forces reflects a deeper continuity that has characterized the South Korean liberal democratic politics. It extends the axiom of “eliminating accumulated evil” (chŏkp’ye chŏngsan), which has been a defining feature of South Korean party politics since at least the 2010s. Both major parties have accused each other of embodying accumulated evil, rallying their supporters to eradicate this abstract enemy. In this framework, “accumulated evil” lacks any concrete definition or historical specificity, functioning instead as a meta-identity. This dynamic aligns with the elementary mechanism of identity politics, where the drive to eliminate the Other serves to consolidate one’s own identity. Within this construct, colonial history is reduced to a symbolic contest between pro- and anti-Japanese stances, stripped of any historicity. Such abstract identity politics plays a critical role in maintaining the appearance of liberal democracy and political pluralism, especially when the two contending parties share an underlying commitment to liberal capitalism. Despite their ideological clashes over colonial history, these parties hold largely similar positions on chaebol monopoly capital, economic and political deregulation, and the perpetuation of precarious employment.

Amidst the backdrop of the parties’ identity politics, President Yoon has repeatedly vetoed resolutions passed by the National Assembly. Concurrently, the minority Democratic Party has increasingly relied on impeachment as a strategy to challenge the ruling majority, filing 15 motions to impeach Yoon’s appointees during his administration. When Yoon declared martial law, he specifically cited the opposition’s frequent recourse to impeachment as a critical obstacle to the proper functioning of the liberal democratic system, framing his action as a necessary measure to rescue democracy from paralysis. 

Pace Carl Schmitt, who theorized that the absolutist sovereign arises from the crises of liberal democracy to save it. It is, however, essential to interrogate the dynamics of popular politics, questioning whether and how they align with absolutist power. Theodor Adorno viewed fascism as a phenomenon rooted in mass culture, where individuals, alienated by the drudgery of work, find a temporary escape by identifying with an authoritarian and charismatic leader. Sociologist Dylan Riley argued that fascism emerged in societies with vibrant civil society movements. In South Korea, the masses have been consistently and highly mobilized both within and on the margins of liberal democracy. If the procedural investigation of the recent insurrection offers liberal democracy borrowed time, it is not simply because people are swayed by tearful testimonies, spectacles, or lies. Rather, it is because of deeper contradictions of the people themselves—contradictions that have been exposed by the recurring mass candlelight protests since the 2000s.

Candlelight protests have evolved into a distinctive form of mass politics since their emergence in 2002, rejecting both the class struggle paradigm of the 1980s democracy movement and the social and civil society movements that followed democratization in the 1990s. The candlelight protests embody a neo-anarchist ethos akin to movements like Occupy Wall Street and the Arab Spring. They emphasize decentralized organization, eschew established institutional frameworks and hierarchical leadership, and advocate for horizontal relationships and grassroots initiatives—often facilitated by social media platforms. This modality of politics underscores both the potential and the fragility of mass mobilizations in navigating the crises of liberal democracy, raising critical questions about their future trajectory and alignment. During the 2016-2017 impeachment protest, protesters of all ages, from teenagers to middle-aged adults, vocally rejected attempts by politicians and activists to lead the demonstrations, even though major organizations like the Korean Confederation of Trade Unions (KCTU) provided key logistical support, including stages, giant monitors, high-powered speakers, and electric cables. Instead, the protesters emphasized spontaneity and festive communal activities. They shared food and casual conversations on the streets, fostering a sense of solidarity. They crafted their own banners, blurring the lines between politics and everyday life. In continuity, the protests to impeach Yoon have shown banners, “The National Coalition to Stay Lying Down at Home,” “The Group That Doesn’t Want to Do Anything,” and “The Research Group on the Smell of Dog’s Paws.” Parodies of established organizations also emerged, like “Minju Myoch’ong” (Those Who Want to Democratize Cats) and “Mandu Noch’ong and Saewu Noch’ong” (Dumpling and Shrimp Associations), mocking the KCTU (Minju Noch’ong). After a week after the botched insurrection, previous signs of organized protest logistics are notably absent. The festive and communal energy is even more palpable. K-pop songs and cheerleading light balls used in pop idol concerts fill the streets. Social media platforms are buzzing with celebratory photos and practical advice and tips for participants, such as turtleneck sweaters over scarves, bread over cookies as snacks, and tying back long hair so as not to bother others on windy days. Heartwarming stories have emerged of older generations and the MZ generation bridging their differences by singing together and cheering as KCTU members pushed back police lines and garnered extra space for protesters.

South Korean scholarship remains divided over the interpretation of the candlelight protests. On one hand, some scholars dubbed them as a “candlelight revolution,” emphasizing a new grammar of mass politics driven by the synergy of social-media mobilization, youth participation, and festive protest repertoires. On the other hand, critics dismiss the movement as a liberal petty-bourgeois tendency that adheres strictly to the rule of law. In my view, this polarized debate fails to fully grasp the contradictions and political possibilities inherent in the candlelight protests. While many protesters appeared to accept impeachment and a subsequent presidential election as sufficient outcomes, their demands extended far beyond the confines of liberal democratic politics. As I have argued elsewhere, earlier candlelight protests in 2002 and 2008 began with specific grievances—the deaths of two schoolgirls caused by a U.S. military vehicle in 2002 and opposition to U.S. beef imports and South Korea–U.S. Free Trade Agreement in 2008. However, these protests quickly expanded to address broader issues: unequal military and economic relations between South Korea and the U.S., and opposition to the privatization of public goods such as education, river development, water, electricity, and media. Similarly, the 2016–2017 candlelight protests started with demands to impeach President Park Geun-hye but soon grew into a broader call to eradicate long-standing accumulated evil (chŏkp’ye). In contrast to the reified use of the term by the competing political parties, their reference to accumulated evil denoted issues such as precarious employment, the importation of rice, tax policies favoring the wealthy, privatized media, and abuses of state power, including the banning of radical opposition parties and engaging in wasteful diplomatic ventures. The protests also condemned the corruption of the chaebols, demanding the arrest of Samsung’s then de facto leader, Lee Jae-yong, who had bribed former President Park to secure his succession. 

This trajectory demonstrates that the candlelight protests were not merely limited to liberal reforms but carried the potential to challenge entrenched inequalities and systemic corruption in South Korea.

As I write this observation one week after the failed insurrection in 2024, it remains uncertain how the ongoing protests demanding the impeachment of President Yoon will address the deepening socioeconomic concerns amid new crises of capitalism in South Korea, how industrial and financial capital will respond, and what intraclass alignment of capital will develop, all of which will shape the direction of politics. Inequalities, unemployment, and hopelessness have worsened under the uneven industrial and financial capitalism. Last month, reports revealed that the number of bankruptcies among small businesses reached a record high of one million this year. Technology-intensive industries, while expanding, have long failed to provide sufficient job opportunities for college graduates. Government support for ventures, including those led by young people in sustainability and creative markets, proved fleeting. Civil service jobs, once highly sought after by college graduates for their stability, have become less appealing due to low wages, heavy workloads, and workplace harassment. The housing and construction sector, a cornerstone of South Korea’s construction and financial industries since the 2000s, is now facing a severe crisis reminiscent of the 2008 financial downturn. High interest rates and rising construction costs have exacerbated the situation. With stable employment and adequate income increasingly out of reach, many young and middle-aged South Koreans have turned to speculative investments, particularly in the cryptocurrency market. Tensions boiled over last week when the declaration of martial law caused a sharp decline in South Korea’s bitcoin market. Enraged investors expressed their anger, reflecting the volatile intersection of political and economic discontent.

The tension between socioeconomics and politics is a driving force that renews the cycle of candlelight protests. Everyday life concerns stemming from capitalist crises exceed the conventional framework of liberal democratic politics, which remains tethered to state and party politics. However, these socioeconomic concerns never truly disappear; instead, they repeatedly compel people to return to the streets. This historical cycle of protests, however, will reach its limits. Public dissent will likely escalate into new, transformative actions if substantive responses to capitalist crises and growing inequalities are not made. The political direction of such actions—whether they lead to emancipatory politics or devolve into fascism—will largely depend on how the left navigates this moment. 

The progressive forces—including KCTU, PSPD, and the left that adopted liberal democracy as a hegemonic strategy to enlist the moderate bourgeoisie—have experienced what has been noted as “leftist melancholia” over the failed revolution. Since the political liberalization in 1987, they have struggled to disavow their previous elitism and connect with the broader populace and their social realities under the crises of capitalism.  One of their key principles is tangsajajuŭi, which grants tangsaja—those directly affected, such as women, disaster victims, or striking workers—the exclusive right to determine their course of action. This approach relegates activists to the role of mere supporters or the secondary position, no matter how important their support and solidarity are. Tangsajajuŭi underscores the unresolved challenge of engaging in a dialectical relationship between intellectuals and ordinary people. During the revolutionary struggles of the 1980s, student activists worked covertly alongside workers, sharing their daily realities. Under this collaboration, the shopfloor was called hyŏnjang (literally, “now-space”), where intellectuals and workers learned from one another to transcend their immediate social and political positions. The failure of shopfloor organizing since the mid-1990s has conventionally been attributed to the dominance of economic unionism and internal conflicts within the labor movement. Similarly, the failure of leftist party politics is often blamed on bureaucratization and a disconnect with workers and the broader populace. 

Offering a new perspective on the current crisis of leftist politics, Baek Seung-wook, a Marxist sociologist and former student activist, recently revealed that the hyŏnjang movement came to an abrupt halt in 1991. This shift occurred when the left’s top leadership hastily abandoned grassroots organizing to participate in liberal democratic politics, marked by the formation of leftist political parties.[1]> Whether this turn to liberal democracy was a hegemonic strategy or not, it ultimately proved to be a failure. For example, in the June 2014 election, six progressive parties collectively secured only five seats in the 300-member National Assembly. For Baek., the pivotal moment in the recent history of South Korean democracy was not the end of the military dictatorship in 1987, as argued by the “1987 System Thesis,” but rather the liberal turn in 1991, which I term the “1991 System Thesis.” I find Baek’s reframing of South Korean history a compelling lens through which to rethink the historical present.

In the aftermath of the botched insurrection, the 1987 and 1991 System Theses present contrasting prescriptions. Proponents of the 1987 System Thesis, as they have during past crises, are once again advocating for constitutional reform to replace the presidential system with a parliamentary system—either in the style of the UK or France—to prevent the concentration of power and secure power-sharing across political parties. For example, a faction of leftists rooted in the 1980s, known as the Constitutional Assembly Faction (CA), characterizes the aftermath of the 12.3 Insurrection as a “revolutionary moment” to fulfill the unrealized aspirations of 1987. However, I think that revisiting 1991 and the broader institutionalization of liberal democracy in the 1990s offers a more long-term and substantive approach to addressing South Korea’s challenges. Such reflection is essential for the left to reformulate the hyŏnjang movement and develop new ideas and organizations that mediate between material conditions and political actions.

Hyun Ok Park is Professor of Sociology at York University


[1] Baek Seung-wook (2022) 1991 nyn ichin t’oejo ŭi ch’ulbaljŏm (1991, the starting point of the forgotten retreat), Seoul: Bukk’omma.

Dongkyu Yeom, “A Cacophony of Fools: Yoon Suk-yeol’s Martial Law in South Korea”

Perhaps the writing was on the wall.

Since his inauguration as President of South Korea—or even earlier, from the time of his presidential bid—Yoon Suk-yeol was odd. While most South Koreans rely on shamanism only in jest, Yoon seemed to take it seriously. He once even appeared on a televised presidential debate with the character for “king” 王 written on his hand as a talisman. Known as a mean-spirited prosecutor, he was notorious for shaking people down and treating them as criminals, whether or not the charges were legitimate. When allegations of stock manipulation fell upon his beloved wife and her family during the presidential debates, Yoon simply dismissed them.  In May 2022, with the help of his party, the media, and political technicians masquerading as public pollsters, Yoon became the twentieth President of South Korea.

No one would have dared to question him, the ruling monarch of the Prosecutor’s Office. If anyone had, it’s likely he would have resorted to his favorite trick: shaking the challenger down, treating them as a criminal, and scattering a thick cloud of obfuscation all around them. Probably, Yoon’s close allies in the media would have leapt gleefully at the headlines, praising him as a “righteous prosecutor” while smearing the challenger as a “criminal.” This trick has been so effective that even the most upright individuals have found it difficult to withstand. It’s just like that old adage, sam-in-seong-ho (三人成虎) “three people insisting that there’s a tiger can become a tiger.” Produced in cahoots with allies in the People Power Party (PPP), their friendly media, and the manipulators of public opinion whose identities are only now coming to light, Yoon’s false narrative would become palatable as “truth” to at least half of the public. The cacophony eventually grew to such political force that Yoon achieved his “star moment” and landed the presidency.

From the start, there was an acute contradiction inherent to his presidency. Legally. Yoon could only ever rise to the rank of president, but he did not aim to be the president; he aimed to be the king. Halfway into his term, he still failed to understand his position, repeatedly eschewing the idea that the institution of the presidency is a social compact. How could “someone with a mere five-year term dare to” challenge the social compact of the presidency?[1] However, Yoon’s brazen challenge didn’t go as planned. His sudden declaration of martial law, on the night of December 3, was a desperate attempt to strike that final blow to the very institution of the presidency. Of course, it was a clumsy kick, typical of Yoon. It didn’t last more than three hours.

Throughout his term, Yoon struggled to bear the responsibilities of his office. His tenure can be encapsulated in the following sentiment: “I am king, so why am I being treated as president?” Yoon’s inability to reconcile this self-perceived identity as a monarch with the fact that the presidency is a social compact resulted in an utterly chaotic state of affairs. His administration of less than three years was marked by incompetence, lies, flip-flopping, and evasion of responsibility. Erratic policies were announced and withdrawn after facing backlash—a bizarre pattern that repeated itself endlessly. Such was the reality of South Korean politics under Yoon Suk-yeol. Yet he simultaneously cultivated an identity as a straightforward pitcher who liked to throw “stone-like fastballs.” Perhaps because throwing a fastball requires one to avoid overthinking, his policies were utterly devoid of rationality. While rational deliberation cannot always guarantee solutions to the challenges of running a country, policies devoid of rationality are destined to fail; in fact, they inflict great harm.

One of Yoon Suk-yeol’s first actions as president was to relocate the presidential office from the Blue House to Yongsan, despite widespread opposition. This decision squandered enormous sums of money, much of which flowed into companies connected to his wife. As many had feared, the hastily relocated presidential office suffered from poor security, culminating in the humiliation of being wiretapped by South Korea’s own ally—the United States. The public still struggles to understand how such an irrational decision was made, but reports suggest that it may have been influenced by Yoon’s belief in geomancy.

Yoon Suk-yeol’s reputation as a fastball pitcher who relies on frenzy rather than reason was dramatically showcased in his handling of the ongoing healthcare crisis, since February 2024. While expanding medical school quotas was arguably a long-term necessity, the decision to increase the number of enrollees by 2,000 at once defied common sense. Yoon’s administration ignored reasonable concerns that simply increasing the number of students would not automatically produce more doctors. The government failed to explain how they arrived at the arbitrary number of 2000. Medical residents responded with strikes and resignations. As the government and the medical community clashed, South Korea’s world-renowned healthcare system collapsed. The strikes and resignations spiraled out of control, yet Yoon’s administration oscillated like a pendulum—going back and forth between issuing threats and calling for negotiations. While the conflict dragged on for months, patients worsened or died as they were shuttled from hospital to hospital, unable to find emergency care.

Since the outset of Yoon’s administration, the country has been ill-prepared for major incidents and disasters, and when such events did inevitably occur, Yoon’s response was reliably irresponsible. In 2022, in central Seoul, 159 people lost their lives in a crowd surge at a Halloween festival in Itaewon. One survivor took their own life after they lost two friends and were then harassed online by commentators who mocked the victims and survivors. Yoon dismissed demands for accountability with remarks suggesting that such accidents are an inevitable part of life. He seemed to show an outsized loyalty toward his subordinates, refusing to hold them responsible. Bereaved families and citizens seeking accountability criticized the relocation of the Blue House to Yongsan (near Itaewon). They justifiably argued that the move may have disrupted crowd control measures that night. Yet their calls for investigation and accountability were utterly ignored and rejected.

When floods struck the country in 2022 and drowned those living in semi-basement apartments, Yoon seemed more focused on useless lamentations and performative photo ops than on preparing effective countermeasures. Unsurprisingly, tragedy struck again. There were more floods the following year. In addition to yet more casualties and missing persons, a marine named Chae Su-geun lost his life during a search-and-rescue operation. Legal proceedings ensued to hold the commanding officer accountable for the excessive and unsafe operations, but Yoon branded the military police officer who initiated these proceedings as a member of “anti-state forces.”

Meanwhile, Yoon’s wife, Kim Keon-hee—a savvy and experienced investor who had previously made billions through stock manipulation—was suspected of using her husband’s authority to alter highway routes to increase the value of her land property. Predictably, ruling party lawmakers and Yoon’s aides dismissed these suspicions as mere coincidences or fabrications, labeling the opposition party as “anti-state forces” whenever controversies failed to subside. Kim was subsequently accused of accepting bribes in the form of luxury bags, but despite incontrovertible evidence, Yoon, ever the romantic devoted to his wife, ensured that investigations were never conducted, or carried out only superficially.

Most recently, the so-called “Myung Tae-kyun Gate” has dominated the news. Named after a political technician masquerading as a public pollster, the scandal involved allegations of manipulating public opinion polls to interfere in the last presidential primary. Yoon was also accused of meddling in party nominations. Some have now raised suspicions that the very process by which Yoon became the PPP presidential nominee may have been illegal. New evidence and testimonies have surfaced daily, turning allegations into concrete truths. The media continues to report on these developments.

Each of these issues warranted comprehensive investigation. Even the most generous perspective could not deny the mounting suspicion. Yoon’s approval ratings plummeted. Even in a country where over 30 percent of voters lean conservative, his ratings fell to near10 percent, leaving his presidency hanging by a thread. Yet the Prosecutor’s Office had been reluctant to investigate Yoon, given their longstanding connections. The opposition proposed an independent special prosecution,  the obvious next step, but Yoon had one final trick left to him as president: veto power. Veto after veto after veto. As public sentiment demanded at least an apology, Yoon reluctantly issued a statement. Even then, the statement was so bizarre and incomprehensible that it left people wondering, what, exactly, was he apologizing for.

It seemed that Yoon Suk-yeol was cornered. It was uncertain whether he could complete his term. The possibility of a peaceful retirement after the end of his term also appeared remote. While his inner thoughts remain unknown, he seems to have hoped that the investigations, scandals, and criticisms could be ignored, that he could continue to enjoy the honor, prestige, and opportunities for personal gain afforded by the  presidency.  His apparent wishes were not granted. He seemed upset to learn that his “throne” did not protect him, and he behaved as a spoiled child who’d believed he was king. Lawmakers scolded him again and again. Then one day, on December 3 at 11 PM, the petulant child shrieked in frustration and declared martial law.

He followed that declaration with the issuance of ridiculous, clumsy proclamations and dispatched troops to occupy the National Assembly.

Additionally, PPP house leader Choo Kyung-ho then convened his party lawmakers at the party headquarters instead of the National Assembly. This act appears to have been intended to delay the vote on lifting martial law. Choo may thus be considered an accomplice, depending on the content of his communication with the president immediately following the declaration of martial law.

Of course, this, too, was something he could not do simply because he wished it. Under South Korea’s Martial Law Act, martial law can only be declared in times of war, disaster, or comparable national emergencies. A president facing reprimands from lawmakers could hardly be interpreted as a “national emergency.”

Citizens, upon hearing the news, gathered in front of the Assembly to thwart the troops’ entry. Meanwhile, a total of 172 opposition lawmakers, along with 18 ruling party lawmakers, convened to vote for the repeal of martial law.

Yoon, therefore, became a self-declared enemy of the Republic. By declaring martial law without any legal or rational justification, ordering troops to occupy the National Assembly, and commanding the arrests of key political figures, Yoon’s actions could be classified as an act of “sedition” aimed at “overthrowing state authority or disrupting the constitutional order.” South Korea’s Criminal Code stipulates that the leader of a sedition effort can face the death penalty, life imprisonment, or long-term incarceration. The best outcome Yoon can hope for is to live out his days in prison. It is a situation entirely of his own making.

After martial law was lifted, Yoon’s former allies, who had once proudly claimed to be his “good friends,” panicked and floundered in confusion. Before Yoon’s sedition, these individuals had either aided or turned a blind eye to his blatant misuse of state institutions for personal gain. Whenever the National Assembly sought accountability, they pretended not to know anything, playing dumb to avoid responsibility. Yet now, some have begun to reflect on their misdeeds or even to expose Yoon’s misconduct. Whether these changes have been motivated by genuine reflection or fear of consequences is unclear. Either way, such  reflections and revelations seem hollow, arriving only after the Republic was pushed to the brink.

Military commanders and intelligence officials involved in the sedition effort have likewise confessed, offering details about how the operation was planned and executed. They claim to have unknowingly followed orders, only pretending to comply with those that seemed unreasonable. It remains uncertain how much we can trust the testimonies of those who abetted sedition.

Those who directed troops to commit seditious acts against the National Assembly should not expect reprieve. A clear message must be sent that even reluctant or partial participation in undermining the Republic will be severely punished, ensuring that such actions are never repeated.

Yet perhaps the most pitiable figures are those defending Yoon Suk-yeol and the martial law forces under the guise of “patriotic intentions.” Minister of Defense Kim Yong-hyun, who is reported to have proposed the idea of martial law to Yoon and directed the troop deployments, claimed that he was driven by “a single-minded determination to save the nation.” Yet, if such a grandiose motive truly existed, he should not have hidden for days in his official residence even after being dismissed as Minister of Defense. Was he so afraid after committing sedition in the name of patriotism? He should have boldly stepped forward and defended his lofty patriotic ideals with pride. Instead, he only presented himself to the prosecution several days later, after the presidential impeachment vote was nullified. Given that the Prosecutors’ Office is the very organization that gave birth to Yoon Suk-yeol and serves as his enabler, Kim’s confident appearance only after the nullification of the impeachment vote suggests that something is rotten.

The PPP leadership has also been scrambling to downplay the seriousness of the situation, acknowledging that while martial law was a mistake the president’s “intentions to save the nation” should be understandable. If Yoon Suk-yeol and his closest allies in the ruling party genuinely believe in their so-called “intentions to save the nation,” they should at least make some gesture toward accountability for what they themselves admit was an unconstitutional declaration of martial law. About a decade ago, the PPP voted to dissolve a minor political party on the grounds that it had allegedly conspired to incite sedition during some of its gatherings. Yet now, when their own president has not only planned but executed an actual sedition effort, they argue that his “intentions to save the nation” deserve respect. What kind of absurd logic is this? Even Park Geun-hye, the former president beloved by the PPP, once stated, “If you don’t learn history properly, your soul becomes abnormal.” If we are to take her words to heart, it seems that the PPP has failed to learn its own history correctly, leading to the utter abnormality of its collective soul.

Ultimately, due to the “abnormal soul” of the ruling PPP, the first impeachment motion failed to reach a quorum. The leader of the PPP, Han Dong-hoon, renowned for his keen taste in wigs and high-quality padded bras, and nicknamed “Joseon’s Finest Sword,”[2]initially declared he would block the impeachment, then claimed it was necessary, and finally opposed it altogether. According to its opponents, the impeachment constitutes a “disruption of constitutional order.” They call for a more “orderly” method. But the term “disruption of constitutional order” applies to constitutional violations such as sedition. Impeachment, conversely, is a legitimate procedure grounded in the Constitution. However, as argued throughout, Yoon Suk-yeol and his allies exhibit infantile reasoning. Their sophistry is cloaked as serious logic, tantrums are framed as legitimate criticism, and their most self-serving acts of personal gain are dressed up as public interest, producing the bizarre spectacle before us.

Even the process of nullifying the impeachment motion on December 7 was laced with the PPP’s characteristic buffoonery. Knowing that the impeachment vote was anonymous, the PPP feared that some of their own members might support impeachment despite the party’s official stance to oppose it. To preempt this, the PPP boycotted the vote entirely. It’s a tactic befitting Yoon’s infantile cohort. Just days earlier, the now “rusted-sword” party leader Han Dong-hoon had confidently declared that the PPP, as a “party of liberal democracy,” would not resort to tricks like boycotting to derail a vote. This laughable yet destructive stunt illustrates how the PPP has trivialized the Republic’s order— in the time leading up to Yoon’s sedition as well as in its aftermath—and they will likely continue to do so.

Meanwhile, a crowd of one million gathered in Yeouido, calling for the president’s impeachment. Standing in front of the National Assembly, they represented just one gathering among many. Elsewhere, groups ranging from hundreds to thousands mobilized to demand Yoon Suk-yeol’s impeachment. When the PPP lawmakers walked out, and the vote could not proceed according to schedule, people waited anxiously, braving subzero temperatures in the hope that the absent lawmakers might return. But the ruling conservative party, ironically named the “People’s Power Party,” has betrayed the people, turning its very name into a cruel joke.

It is marvelous that South Korea managed to lift martial law in just three hours through the power of its citizens. But the national sedition crisis is far from over. The problem lies in the fact that Yoon Suk-yeol and his active or passive collaborators of sedition, lack the maturity necessary to function as members of the Republic. This is the stark truth revealed by the recent martial law declarations and the developments that followed. South Korea’s major conservative party is ready to throw out the Constitution, reason, and order if the party’s goals are thwarted. The safety and lives of the people are not their priority. On the night of December 3, this problem took the form of unconstitutional martial law—an act of sedition. On the night of December 7, it manifested as the nullification of impeachment. What comes next could well be war. Thus, the democratic Republic of Korea now faces an extraordinarily grave moment. If the Republic is not preserved, this crisis may spiral into a crisis that threatens not only the Korean peninsula but also the entire region.

[1]> The phrase “how could someone with a mere five-year term dare to…” was one of Yoon’s favorite mantras, frequently directed at former President Moon Jae-in.

[2] “Joseon’s Finest Sword” was one of Han Dong-hoon’s nicknames, inspired by his prosecutorial role in leading numerous investigations into South Korea’s major corporations alongside Yoon Suk-yeol. The name was popularized by South Korea’s conservative mainstream media through coverage that often bordered on hagiography.

Dongkyu Yeom is a PhD student in the Department of Asian Languages and Cultures at the University of Michigan and a member of the Graduate Students and Researchers in North America – University of Michigan Chapter, recently formed to organize petitions and protests against Yoon Suk-yeol. This commentary was originally written in Korean, included below.

 

 

염동규, 서울의 밤에 울려퍼진 바보들의 합창

어쩌면 예견된 일이었다.

임기 시작부터, 아니 출마했을 때부터 범상치가 않은 인간이었다. 대다수의 국민들이 재미삼아서나 의지하는 무속신앙을 진심으로 믿었던 윤석열은 손바닥에 왕(王)자를 쓰고 TV 토론회에 참여할 만큼 21세기의 상식과 이성에서 엇나간 존재였다. 남의 티끌을 있는 것 없는 것 가릴 것 없이 탈탈 털어 범죄자로 만들어버릇하는 못 되먹은검사였던 그는 자신이 사랑해 마지 않는 아내와 그 일가가 저지른 주가 조작 의혹 등에 대해서는 증명되지 않는거짓말로 의혹을 일축해버렸고, 그가 속한 정당과 언론, 여론조사를 가장한 정치 기술자들과 검찰의 도움을 받아대한민국의 20대 대통령이 되어버렸다.

검사 조직에서 그야말로 제왕처럼 군림했을 때야 누가 자신을 의심할 일조차 없었을 것이다. 누군가 감히 그의 권위에 도전하려 든다면, 그는 그가 즐겨 애용하던 술법을 사용하면 그만이었을 테니까 말이다. 도전자의 몸에 묻은먼지를 털어 그의 주변에 시뿌연 먼지 안개를 흩뿌려놓는 것. 그러면 그의 좋은 친구들인 언론들이 기사 거리 생겼다고 좋아라 하며 윤석열을 ‘정의로운 검사’로 추켜 세우고 그에게 도전한 자를 ‘범법자’로 먹칠해버리면 그만이었을 것이다. 이 술법 앞에선 아무리 결벽적인 사람도 쉬이 맞서기가 어려웠다. 세 사람이 모이면 호랑이도 만든다는데, 딱 그 꼴이었다. 윤석열과 윤석열의 친구들인 “국민의힘” 국회의원들과 그 주변에 모인 언론들, 그리고최근에서야 그 정체가 밝혀지고 있는 여론 조작 기술자들이 모여서 생산해낸 가상은 절반쯤의 대중에게는 믿을만한 진실이 되었고, 삼인성호의 야단법석은 점차 하나의 거대한 세력이 되어 마침내 윤석열에게 소위 말하는“별의 순간”이 만들어지고 만 것이다.

문제는 이 사태가 처음부터 가지고 있었던 지독한 모순이었다. 법적 절차에 따라 그가 될 수 있었던 것은 ‘대통령’이었지만, 윤석열 자신은 ‘왕’이 되려고 했지 대통령이 되려고 한 것은 아니었기 때문이다. 그는 임기 절반을지내도록 이 점을 이해하지 못한 채 거듭 “대통령”이라는 제도의 사회적 의미와 대결했다. “기껏해야 5년짜리 주제에 겁도 없이” ‘대통령’이라는 사회적 의미와 대결하려 들다니, 용감하다고 해야할까. 하지만 윤석열의 패기 있는 도전은 그의 생각만큼 잘 풀리지 않았다. 지난 12월 3일 밤 느닷없이 선포된 계엄령은 스스로를 제왕이라고 믿는 윤석열이 ‘대통령’이라는 직위의 사회적 의미에 내던진 마지막 발길질 같은 것이었다. 물론 그것은 윤석열답게 어설픈 발길질이어서, 계엄 선포 후 겨우 세 시간만에 실패해버리고 말았다. 술을 너무 많이 마셔 헛발질을 하다 빙판길에 넘어진 주폭자 꼴이었다.

임기 내내 윤석열은 “대통령”으로서의 사회적 직위를 감당하기 어려워했다. 나는 왕인데 왜 대통령으로 대우하느냐,는 것이 재임기간 동안 윤석열이라는 존재가 보여준 핵심이었다. 그가 끝끝내 견뎌낼 수 없었던 제왕으로서의 자기 정체성과 대통령이라는 사회적 역할 사이의 모순으로 인해, 윤석열 집권 후 지난 3년 남짓 동안의 대한민국은 실정과 거짓말, 말바꾸기, 적극적인 책임 회피가 하루가 멀다하고 등장하는 아수라장이 되었다. 뜬금 없는정책들이 발표되었다가 욕을 먹고 철회되는 기묘한 패턴의 반복. 그것이 윤석열이 대통령으로 있는 동안의 대한민국 정치 현실이었지만, 또 한편 그는 돌직구를 좋아하는 강단 있는 투수로서의 정체성도 갖고 있었다. 돌직구를던질 때는 너무 많은 생각을 하지 않아야 하기 때문인지, 끝까지 관철시킬 요량으로 던져버린 정책은 그야말로 이성의 결여라고 할 만한 것이었다. 아무리 합리적으로 재고 따지더라도 잘 안 풀리는 수가 있는 게 국가의 경영일터, 하물며 이성이 없는 정책에게는 실패만이 예정된 수순이었다. 그런 정책들은 국가에 큰 해를 끼쳤다.

많은 이들의 만류와 반대에도 불구하고 윤석열은 일단 청와대부터 옮겼다. 돈은 돈대로 들었고, 그 돈들은 그의애처와 관련된 회사로 흘러 들어갔다. 많은 이들의 우려대로, 급조식으로 옮겨진 대통령 집무실은 보안이 허술해서 동맹국인 미국으로부터 도청까지 당하는 망신을 겪었다. 무엇 하나 상식적이지 않은 이 의사 결정이 어떻게 이뤄졌는지 국민들은 여전히 이해하기가 어렵지만, 들려오는 소식들은 그것이 풍수지리설에 근거했을 가능성을 시사하고 있다.

이성보다는 광기에 의지하는 돌직구 투수, 윤석열의 정체성은 의대 정원 2000명 확대 문제에서도 드라마틱하게만개했다. 의대 정원을 확대하는 문제는 장기적으로 필요하다고도 할 수 있는 일이었지만, 2000명이라는 숫자를한 번에 확대한다는 것은 상식을 벗어난 조치였다. 학생을 학교에 몰아넣기만 한다고 의사가 길러지는 것은 아니라는 합리적 우려는 전혀 고려조차 되지 않았고 왜 하필 2000명이냐는 질문에는 제대로 된 대답이 없었다. 어처구니 없는 정책에 대해 전공의들은 파업과 사직으로 맞섰다. 정부와 의료계가 강대강으로 맞서기만 하는 통에 세계최고 수준을 자부했던 양질의 의료 시스템은 삽시간에 붕괴되었다. 파업과 사직 행렬은 걷잡을 수 없이 커졌지만, 윤석열의 정부는 으름장을 놓았다가 대화를 하자고 했다가, 다시 으름장을 놓았다가, 대화를 하자고 하는 망나니같은 진자 운동을 반복했다. 의정 갈등이 몇 달씩이나 지속되는 동안, 환자들은 응급실을 찾지 못해 병원을 전전하다 사망하거나 병을 키웠다.

윤석열 정권이 시작된 이래, 나라에 벌어질 수밖에 없는 크고 작은 사건 사고들은 제대로 대비되지 않았고, 일단저질러진 사건 사고에 대해 그는 무책임으로 일관하였다. 시내 한복판의 축제에서 일어난 사고로 인해 사람이159명이나 죽었고, 두 명의 친구를 잃은 생존자 하나는 트라우마에 시달리다 희생자들과 생존자들을 조롱하는 온라인 상의 댓글들에 시달려 자살하는 일까지 있었지만, 살다보면 사고는 벌어지게 마련이지 않느냐는 식으로 책임 추궁을 가로막았다. 자신의 수하에 대한 대단한 의리감은 또 있는 모양인지, 수하에게 책임을 대신 지게 하지도 않았다. 멀쩡한 청와대를 뜬금없이 용산으로 옮겨버린 탓에 축제 인파 관리에 구멍이 생긴 게 아니냐는 정당한비판과, 진상과 책임을 규명하기 위한 유가족들과 시민들의 요구는 적극적으로 무시되고 거부되었다.

나라에 물난리가 나 반지하에 살던 사람들이 물에 잠겨 죽는 일이 발생하기도 했지만, 수해 대책이 왜 제대로 마련되지 않았는가, 앞으로의 수해에는 어떻게 대응할 것인가 하는 데 대한 대책 마련보다 쓸 데 없는 탄식과 보여주기 식의 사진 촬영만이 그의 관심사인 듯 보였다. 그래서일까. 이듬해의 수해에서도 비극이 벌어졌다. 사망자와실종자가 발생한 것은 물론이고 이번에는 실종자를 수색하기 위한 대민지원의 과정에서 해병대원 채수근 상병이목숨을 잃는 사건까지 있었다. 보여주기 식의 무리한 수색작전을 벌인 지휘관의 책임을 묻는 법적 절차가 가동되었지만, 윤석열은 정상적인 절차를 가동시킨 군사경찰 간부를 반국가세력으로 낙인찍어버렸다.

그러는 동안 이미 주가 조작으로 수십억을 챙긴 바 있는 노련한 투자 고수이자 윤석열의 부인인 김건희는 남편의권위를 등에 업고 고속도로 노선을 변경시켜 자신이 소유한 땅의 가치를 올리고자 했다는 의혹을 일으켰다. 물론여당 의원들과 윤석열의 측근들은 늘 그렇듯 이 모든 의심거리들을 단순한 우연, 혹은 억지로 몰아붙였고, 논란이잠잠해지지 않으면 이 모든 게 다 “반국가세력”인 야당 때문이라고 악다구니를 썼다. 애처의 망동은 급기야 명품백을 수수하는 지경에까지 이르렀다. 빼도 박도 못할 증거가 있었지만, 윤석열은 부인 하나만큼은 끔찍하게 사랑하는 로맨티스트였다. 수사는 이뤄지지 않았거나 특별 대우 속에서 구색 맞추기 식으로 이뤄졌을 뿐이다.

최근에는 소위 명태균 게이트로 알려진 사건이 뉴스를 뒤덮고 있다. 여론조사를 조작하여 대선 경선을 방해하고대통령이 정당의 공천권에 개입했다는 것이었다. 국민의힘 대통령 후보로 선출되는 과정부터가 불법이 아니냐는의혹이 쏟아지고 있다. 각종 증언들과 자료들이 연일 제시되면서, 의혹은 점차 의혹이 아닌 실체적 진실로 구성되어 가고 있다. 언론은 계속해서 관련된 후속 보도를 예고하는 중이다.

이들 중 그 어떤 것도 적극적인 수사를 요하지 않는 일이 없었다. 세상에서 가장 관대하고 우호적인 시선으로 들여다보더라도 미심쩍은 대목 투성이였다. 대통령의 지지율은 곤두박질쳤다. 보수적 성향의 유권자들이 여전히30퍼센트는 가뿐히 넘는 나라에서조차 윤석열의 지지율은 10퍼센트대를 기록하고 있으니, 대통령으로서의 그의자리는 그야말로 풍전등화와 같은 신세이다. 그럼에도 불구하고 평소 안하무인격으로 휘둘러졌던 검찰의 칼끝은그들과 일심동체인 윤석열을 향해서는 좀체 휘둘러지지 않았다. 그에 따라 야당의 특검안 발의는 자연스러운 수순이었지만, 윤석열에게는 대통령으로 전직한 뒤 얻게 된 마지막 술법, 거부권이 남아 있었다. 거부권에 거부권에거부권. 이따위로 할 거면 뭐 사과라도 해야 되는 거 아니냐는 말들이 들끓자 그는 마지못해 사과담화를 내보냈다. 그러나 마지못해 한 사과담화조차도 당최 무엇을 사과했는지 알아듣기 어려운 괴랄한 것이었다.

윤석열은 계속해서 코너로 몰렸다. 남은 임기를 채우는 것도 위태로울 지경이었지만, 퇴임 이후에 그가 평화롭게은퇴할 가능성은 없어보였다. 윤석열 본인의 속마음까지는 알 수 없지만, 그는 그저 이 모든 일이 없던 일이 되었으면 좋겠다는 마음뿐인 듯 보였다. 검찰 수사도, 특검 수사도 모두 이루어지지 않는, 대통령에게 부여되는 영예와 위신과 수익 창출의 기회만을 누리고, 정계 진출 전후로 벌어진 범법 행위와 실정과 무능은 모두 눈감아지기바라는 모양새였다. 제왕의 자리에 오르면 무엇이든 원하는 대로 할 수 있고, 세상이 다 자신의 것이 될 줄 알았는데, 그렇지가 않아 속상한 어린 아이. 오냐오냐 하는 사람들 속에서 자라 자신이 왕인 줄 착각하는 어린 아이. 그것이 윤석열이 임기 내내 보여준 모습이었다. 그러던 어느 날, 12월 3일 밤 11시, 버르장머리를 도저히 두고볼 수 없었던 어른에게 혼나고 혼나고 혼나다가 마침내 빽! 괴성을 지르는 어린 아이처럼, 윤석열은 계엄을 선포했다. 물론 그마저도 자기 마음대로 하고 말고 할 수 있는 일이 아니었다. 대한민국의 계엄법은 전시, 사변 혹은 이에 준하는 비상사태시에만 선포될 수 있게 되어 있다. 윤석열 어린이를 나무라는 국회의원들이 많다는 사실만으로 이를“전시, 사변 혹은 이에 준하는 비상사태”라고 볼 수는 없기 때문이다.

그리하여 윤석열은 자기 스스로 공화국의 적이 되었다. 법적, 이성적 근거가 없는 계엄을 선포함으로써, 계엄군을통해 국회를 장악하고 주요 정치인들을 체포하라는 명령을 내림으로써, 윤석열의 계엄은 “대한민국 영토의 전부또는 일부에서 국가권력을 배제하거나 국헌을 문란하게 할 목적”으로 일으킨 “내란”으로 규정될 수 있게 되었다. 게다가 대한민국의 형법은 내란의 우두머리에 대해 “사형, 무기징역 또는 무기금고에 처한다”고 규정하고 있다. 이제 그가 기대할 수 있는 최대한의 사회적 관용은 감옥에서 목숨을 부지하는 것밖에는 없게 됐다. 모두 그가 자초한 일이다.

계엄이 선포되고, 사실은 좀 웃기고 어설픈 내용들로 가득한 계엄포고령이 반포되고, 계엄군이 국회에 진입하기위해 출동하고, 소식을 들은 시민들이 국회 앞으로 모여 계엄군의 진입을 늦추고, 172명의 야당 국회의원들과 그래도 민주공화국의 a, b, c 정도는 알고 있는 18명의 여당 국회의원들이 모여 계엄 해제를 통과시키고, 윤석열 어린이의 계엄해제가 발표된 뒤, 그 동안 윤석열의 좋은 친구를 자임했던 인간들은 어쩔 줄을 몰라 우왕좌왕하는 중이다. 윤석열의 내란이 있기 전까지는 그가 국가 기관을 이용하여 사익을 챙기는 꼴을 돕거나 방조했던 자들, 국회가 책임을 물을 때마다 늘 모르는 척, 바보 행세를 하며 책임을 피해오던 겁쟁이들 중 일부가 내란 이후엔 반성을 하거나 폭로를 하고 있다. 정신을 차려서 그러는 것인지 후과가 두려워서 그러는 것인지는 모르겠지만, 공화국을 벼랑 끝까지 몰아넣고 나서야 이루어지는 반성과 폭로란 얼마나 공허한 것인가?

계엄에 참여했던 군 지휘관들과 정보기관의 고위 관료들 역시 윤석열의 내란이 어떤 과정으로 선포되고 진행되었는지 고백하며 자신들은 사태를 잘 모른 채 명령을 따랐고, 영 아니다 싶은 명령들은 따르는 척만 했다고 주장하는 중이다. 내란에 가담한 자들의 말을 어디까지 믿어줘야 할진 모르겠지만 계엄군을 국회에 진입시키는 내란행위를 지휘한 자들이 그 책임을 면할 수 있을 것이라고 기대하지는 말아야 할 것이다. 공화국의 근간을 뒤흔드는일에 대해서는 미적지근하게 참여하는 경우에조차 무겁게 처벌한다는 사실이 이번 기회를 통해 알려져야 더 이상 이런 일이 없을 것이다. 계엄 선포 이후 자당 국회의원들을 국회가 아닌 당사로 소집시키는 기이한 행보를 보여, 계엄해제 표결을 고의로 늦추려 했다는 의혹을 받고 있는 국민의힘 원내대표 추경호 역시 계엄 선포 직후 대통령과의 전화통화에서 나눈 사랑의 속삭임이 어떤 내용이었는지에 따라 내란의 공범으로 취급될 필요가 있다.

하지만 이보다 더 애처로운 자들은 윤석열 어린이와 계엄세력의 “구국의 의지”를 강조하는 자들이다. 윤석열에게 계엄을 건의하고 군 투입을 지시한 김용현은 자신이 내란에 참여한 동기가 “구국의 일념”에 있다고 주장했다. 그러나 “구국의 일념”과 같은 거창한 동기가 있었다면, 국방부 장관에서 면직된 이후에도 며칠 씩이나 관사에—구국의 일념으로 내란을 저질렀다는 짜식이 집에 가기는 또 무서웠단 말인가—숨어 있지 말고 당당하게 나와 그대단하신 구국의 일념에 대해 떳떳한 자기 변호를 했어야 할 것이다. 하지만 그는 며칠 뒤 마침내 탄핵 표결이 무효화되고 나서야 검찰에 자진 출석했다. 윤석열을 배출한 조직이자, 윤석열의 수족으로서 나라를 망쳐왔던 게 바로 검찰 조직임을 생각한다면, 탄핵이 무효화되고 난 뒤가 되어서야 자신있는 모습으로 검찰 조사에 출두한다는것은 역시 뒤가 구려보일 수밖에 없다.

여당의 주류 역시 계엄은 잘못된 것이지만 “대통령”의 “구국의 의지”만큼은 이해할 만한 것이지 않냐며 사안의심각성을 희석시키고자 안간힘이다. 윤석열 어린이와 그의 오른팔이었던 여당 국회의원들이 정말로 “구국의 의지”인지 뭔지를 가지고 있다면 자신들도 인정한다는 “위헌적 계엄”에 대해 책임지는 시늉이라도 좀 해야 할 것이다. 십여년 전에는 소수 정당 하나가 집회에서 내란을 모의했다는 이유로 정당해산까지 시켜버리더니, 자기당 대통령이 실행에 옮기기까지 한 내란에 대해 그 “구국의 의지”만큼은 존중하자는 게 무슨 뚱딴지 같은 소리일까? 국민의힘이 사랑해 마지않는 박근혜 전 대통령도 “바르게 역사를 배우지 못하면 혼이 비정상이 된다”고 했었는데, 친애하는 박 전 대통령의 말에 따른다면 국민의 힘은 자기 정당의 역사를 바르게 배우지 못해 마침내는 혼이비정상이 된 듯하다.

결국 여당인 국민의힘의 “혼이 비정상”인 탓에 첫 번째 탄핵안은 의결정족수 미달로 폐기되어버렸다. 계엄은 명백한 위헌이라며 계엄령 해제 결의에 동참했던, 매력적인 가발과 품질 좋은 뽕브라에 대한 빼어난 감식안의 소유자, “조선 제일검”, 한동훈 국민의힘 대표는 탄핵만큼은 막겠다고 했다가 탄핵을 해야한다고 했다가 끝내는 탄핵에 반대해버렸다. 이들에 따르면 탄핵은 “헌정질서의 중단”이므로, 그것보다 “질서” 있는 방식을 택해야 한단다. “헌정질서의 중단”이란 내란과 같은 헌법 파괴 행위에 대해서나 하는 말이지, 헌법에 입각한 정상적인 절차로서의 탄핵에 대해서 하는 말이 아니지만, 이 글에서 거듭 주장해왔듯이 윤석열과 윤석열의 친구들은 어린 아이 수준밖에 안 되기 때문에 궤변조차 근엄한 논리로 치장되고, 생떼도 정당한 비판이 되며, 가장 졸렬한 사익 추구 행위가 공익으로 탈바꿈 되는 괴상한 광경이 연출되고 있다.

탄핵소추안을 무효화시키는 전 과정에도 국민의힘 다운 재기 넘치는 익살이 있었다. 무기명 투표로 이루어진 탄핵안 표결이니 만큼, “탄핵 반대”가 당론으로 정해졌더라도 일부의 자당 국회의원들이 탄핵 찬성으로 돌아설까두려워 아예 당론 자체를 표결 불참으로 정해버린 것이다. 과연 윤석열 어린이의 유치원 친구들 다운 편법인데, 불과 며칠 전만해도 녹슨 검 당대표 한동훈이 “자유 민주주의” 정당인 국민의힘은 표결에 불참해 안건을 불성립시키는 편법 따위는 사용하지 않는다고 일축했던 데 비추어보면 이들의 재기 넘치면서도 파괴적인 장난꾸러기짓이 윤석열의 내란 행위에 이르기까지, 심지어 내란 이후에조차 공화국의 질서를 얼마나 우습게 만들어왔고 또만들어갈 것인지를 잘 보여주는 사건이라고 해야겠다.

그러는 사이 여의도 앞에는 100만 인파가 모여 대통령 탄핵을 외쳤다. 표결 일정에 맞춰 내란 수괴의 탄핵을 절실히 바라는 마음으로 국회 앞에 모인 100만의 시민이 있었다. 국회 앞이 아닌 다른 지역에서도 적게는 수백, 많게는수천명이 모여 윤석열의 탄핵을 외쳤다. 국민의힘 의원들의 퇴장으로 인해 표결은 이뤄져야 할 시간에 이뤄지지않았고, 시민들은 본회의장을 떠나버린 국민의힘 국회의원들이 혹시라도 돌아오지 않을까 가슴 졸이며 기다렸다. 영하의 날씨에, 추위를 견뎌가며 기다렸다. 그러나 “국민의힘”이라는, 보수정당으로서는 꽤나 이례적인 이름을 가진 여당은 국민을 배신함으로써 자기 이름까지도 하나의 익살로 만들어버렸다.

한국이 불과 세 시간만에 시민의 힘으로 계엄을 해제시켰다는 사실의 경이로움과는 별개로, 국가 내란 사태는 아직 끝나지 않았다. 문제는 내란을 일으킨 윤석열과 그에 적극적으로 혹은 소극적으로 동조하는 방조범들이 모두공화국 일원으로서의 성숙한 사고가 불가능하다는 데 있다. 이번 계엄과 현재까지의 사태 경과가 정면으로 보여주는 것은 바로 이것이다. 원하는 게 이루어지지 않으면 헌법이고 이성이고 질서고 다 개나 줘버릴 수 있는 게 현재 한국의 거대 보수정당이다. 국민의 생명과 안전은 이들에게 일순위가 아니다. 12월 3일 밤에는 그것이 위헌적계엄, 즉 내란 행위로 표현되었다. 12월 7일 밤에는 그것이 탄핵 무효화로 표현되었다. 이 다음은 전쟁일 수도 있다. 따라서, 민주공화국, 대한민국은 지금 아주 중대한 위기에 봉착해 있다. 공화국이 수호되지 않으면, 지금의 위기는 한반도뿐 아니라 주변 지역까지 위협하는 수렁이 될 수도 있다.

 

Qing Shen reviews It’s My Party: Tat Ming Pair and the Postcolonial Politics of Popular Music in Hong Kong

Yiu Fai Chow , Jeroen de Kloet , Leonie Schmidt, It’s My Party: Tat Ming Pair and the Postcolonial Politics of Popular Music in Hong Kong (Palgrave Macmillan, 2024)

How do we write about Hong Kong at a time when repression, failure, and depression seem to dominate discussions and shape the imagination of the city, particularly after the passage of the National Security Law in June 2020 following China’s crackdown on the anti-extradition protests a year earlier? If Ackbar Abbas’s Hong Kong: Culture and the Politics of Disappearance—a foundational text in Hong Kong studies—captures the ethos of anxiety surrounding the city’s imminent erasure after 1997, an anxiety that continues to grow, It’s My Party: Tat Ming Pair and the Postcolonial Politics of Popular Music in Hong Kong (Palgrave Macmillan 2024) offers a departure from this long-standing anxiety by focusing on resilience and hope. Yiu Fai Chow, Jeroen De Kloet, and Leonie Schmidt argue that “the current geopolitical situation of Hong Kong asks for moments of hope, for rays of light, for ways to stay resilient” (8). They locate this hope not in explicitly political realms but in popular music, specifically in the iconic indie duo Tat Ming Pair. Formed in 1984 by Tats Lau and Anthony Wong, Tat Ming is renowned for their enduring engagement with Hong Kong’s society, politics, and history in their music. The duo has survived increasing pressure in Hong Kong and a de facto ban in mainland China due to their active participation in the Umbrella Movement in 2014 and the protests in 2019. The book approaches Tat Ming Pair as a method to unsettle hegemonic narratives of Hong Kong’s past, present, and future, as well as to decolonize popular music studies more broadly.

Tat Ming’s resilience in continuing to produce music challenges, first of all, as Chapter 2 argues, the clichéd claim of the death of Cantopop, often invoked in comparison to the genre’s commercial success during its “Golden Era” in the 1980s. Contrary to this nostalgic narrative, which serves as a reminder of colonial Hong Kong, the authors highlight the surge of indie pop music in the past decade. This music engages closely with the city’s social issues, in contrast to the easy-to-sing love songs that dominate the mainstream Cantopop scene. The vibrancy of indie music points to the possibility, as Anthony Wong envisions, of a future where Hong Kong pop music can thrive without being heavily reliant on mainland China’s market, which remains crucial for more mainstream music practitioners.

Chapter 3, a textual and comparative analysis of Tat Ming’s concerts in 2012 and 2017, vividly illustrates the duo’s resilience in experimenting with different ways of being political amid shifting geopolitical circumstances. Both concerts employed visuals that critiqued British colonial rule, Chinese capitalist authoritarianism, and global neoliberalism, thereby challenging the powerful narratives that shape Hong Kong under these forces. The authors note a shift from the overt political satire of geopolitics in the 2012 concert to a focus on collective remembrance of local history and the everyday life of the city in 2017, partly as a response to tightening censorship after 2014. This chapter effectively addresses one of the book’s central aims: rethinking the relationship between music and politics. While some prominent Western scholarship considers music political only when it inspires collective action and public deliberation, the authors confront this bias by showing how, in authoritarian contexts, Tat Ming formulates different approaches to music as a political project. Citing the work of queer theorist José Esteban Muñoz and anthropologist Arjun Appadurai, the authors envision a future of possibilities found not necessarily in explicitly political street protests, but in the more mundane acts of being together at Tat Ming’s concerts.

However, Tat Ming is not without its internal contradictions. Although the authors state early in the book that their focus on finding hope in Tat Ming and Hong Kong’s popular music led them to distance themselves from critique as the default mode of academic writing, they still offer a bit of critical observation. For example, they note that Tat Ming’s 2012 concert presented the influx of mainlanders to Hong Kong as a risk, which “runs the danger of aligning uncomfortably with the rising anti-mainlander sentiments that characterize today’s Hong Kong” (102). In my opinion, however, this tension perhaps only adds to the complexity of Tat Ming, defying a hagiographic portrayal.

Chapter 4, an examination of Tat Ming’s (primarily Anthony Wong) engagement with queer politics disrupts the established narrative of queer culture and politics in postcolonial Hong Kong that is captured in Helen Hok-Sze Leung’s famous metaphor of “undercurrents.” Leung uses the metaphor to describe the opacity, ambiguity, and invisibility, as opposed to the confrontational identity politics in the West, that characterize Hong Kong’s queer culture. Notoriously known for his campy and often androgynous aesthetics on stage, as well as his experimentation with alternative gender and sexuality in music and his long-time reticence about his own sexuality, Wong’s queerness epitomized the queer politics of “undercurrents.” His coming out in 2012, followed by active involvement in local queer activism, however, marked a shift to a queer politics of being “out in the undercurrents.” The authors argue that Wong’s shift to identity politics must be understood in relation to the city’s broader political context. Specifically, Wong’s “coming out” as a gay man holds symbolic meaning as a form of disidentification with the hegemonic “coming home” narrative—Hong Kong’ return to Beijing’s rule—that China vigorously imposes on Hong Kong and its citizens.

What remains unaddressed, however, is the cost of this identity politics, which often involves categorizing those outside it as backward or politically incorrect. My curiosity lies in how Wong’s statement—“My coming out represents Hong Kong’s tolerance and freedom… Hong Kong always cherishes this: freedom,” which is factually problematic—interacts with or could be appropriated by right-wing localist positions. Sociologist Travis Kong’s recent work reveals that many younger gay men in Hong Kong align with a homocolonialist discourse that equates Hong Kong with civilization and mainland China with backwardness. Regardless of whether or not it stems from the authors’ intentional avoidance of critique in academic writing, I believe a more critical exploration of this tension would offer a more nuanced understanding of Tat Ming.

Chapter 5 provides a production analysis of Tat Ming’s 2017 concert, examining how the duo and their collaborators in the music industry navigated the tension between political considerations and commercial concerns. What is particularly commendable about the authors’ analysis is their illumination of the role of contingency in shaping Tat Ming’s concert performance and stage aesthetics. For instance, the arrangement of a boy and a girl walking in a uniform procession at the beginning of a sequence intended as a commentary on Beijing’s push for patriotic education was also influenced by the city’s policy regarding child labor, which requires children to finish their performances and leave the concert early. This chapter also reveals how Tat Ming and their collaborators recalibrated a straightforward articulation of politics in favor of a more opaque mode of performance.

Chapter 6 investigates Tat Ming’s legacy by presenting testimonials from cultural workers in the creative industry who have been influenced by the duo. This is followed by the final chapter, which features a collection of personal accounts from fans around the world sharing their encounters with Tat Ming’s music. Each fan’s heartfelt words are accompanied by an image one of the authors captured of Hong Kong. As the authors clarify, they intend this chapter to be a tribute “to the affective, evocative, and future-making potentials of popular music” (26).

It’s My Party’s treatment of Tat Ming, in my view, exemplifies a form of “reparative reading” as formulated by the late queer theorist Eve Kosofsky Sedgwick. Sedgwick distinguishes reparative reading from what she calls “paranoid reading,” which refers to a mode of interpretation that ceaselessly exposes, diagnoses, and critiques insidious forms of suffering and abjection, even in ostensibly welcoming environments, while investing in negative feelings. In contrast, “reparative reading” seeks pleasure and “wants to assemble and confer plenitude on an object that will then have resources to offer to an inchoate self” (2003:149). Hong Kong, caught in political depression, is characterized by an excess of “paranoid reading,” an example of which is the politics of homocolonialism. A prevailing way of narrating Hong Kong in international media and popular discourse is predominantly mediated through a paranoid sensibility driven by hate, suspicion, and anxiety. One of the greatest merits of It’s My Party is that it provides a reparative reading of the Hong Kong Story in imagining a future not weighed down by depression but, as the authors repeatedly assert, sustained by hope. Helen Hok-Sze Leung’s astute observation from 16 years ago—that the most creative tales of postcolonial Hong Kong are told through a queer lens which plays with ambiguity and ambivalence—still holds true. This time, however, queer signals more of a hope for an alternative future, as Chow, De Kloet, and Schmidt powerfully demonstrate in the book and as its title suggests—a better future yet to come.

 

Qing Shen is a PhD candidate in cultural anthropology at Uppsala University, Sweden.

Rebecca Karl, On Fredric Jameson

It didn’t seem possible that someone so full of life and thought and humor could die, but Fredric Jameson has passed. Those of us who were fortunate enough to sit in his classrooms, to go to his home for dinners and parties, to be part of his generously-shared intellectual milieu: we know that however much we lament his death, his corporeal mortality has nothing to do with the ways in which the possibilities of thought he opened continue to live on in each of us. The flood of tributes on Facebook alone is enough to impress upon me that I live in a universe suffused by Fred’s capacious capacity to link worlds together, to connect us in a shared world of thinking that is rigorous without being rigid, structured without being constrained. I haven’t seen Fred in a number of years and cannot count myself one of his inner circle. Nevertheless, I feel compelled to write some scattered thoughts as I process the fact of his death and that the incredible steady stream of his provocations will all too soon run dry. 

Let me indulge first in a couple personal memories. Back at Duke, when I was a grad student often seriously outside my depth, I and two then-classmates, now close friends, did an independent study with Fred; these days I am regularly asked to do such things, to which I usually acquiesce, so I know how much effort it takes clear time and mental space to teach such an overload. Neferti, Jon, and I proposed to read systematically on theories of imperialism, for which we constructed a wildly ambitious syllabus filled with classic and obscure readings along with a number of films. As Neferti reminded me the other day, Fred patiently presided over our weekly sessions, sipping Sleepy Time tea while we vigorously debated imperialism, on occasion interjecting a comment or question that jolted us awake.

During those years, a number of international students had arrived in Durham, North Carolina to study with Fred, most were soon appalled at the paucity of food options in the area. Although my family was in New York at the time, often I stayed in Durham for Thanksgiving to save on expensive travel. Fred would have us stragglers over to his house for a huge meal, much of which we, the guests, ended up cooking while we drank large amounts of wine from his prodigious cellar and watched bad-quality pirated VHS copies of important movies, on which Fred would provide a running commentary. There was always a chaotic swirl of activity, but eventually we’d all sit down to a meal as untraditional as it was eclectically delicious. Fred would rise from the table at around 8:30 or 9:00 pm, say good night on his way to bed, and instruct those of us left which bottles of wine we could drink, reminding us to close the front door on our way out. His laughter, his generous sharing of his intellect and his life, his infectious energy, his insatiable curiosity… that’s what I remember most vividly.

Fred’s thinking had many lives, not least a life in China. As a consequence, WeChat too has been filled with tributes to his work and mourning at his death. Many of these pieces attest to how important his thinking is to a whole generation of Chinese literary scholars and critics. This is as true of those in diaspora as of those who have primarily worked only in China. His numerous visits to universities in China, from the famous first one in 1985 at Beida through to more recent times; the thorough translation of many of his signature works; and his early choice of a few Chinese male students to go to Duke to study with him in the late 1980s and early 1990s, helped foster and cement his – and his Chinese students’ – reputation for “theory” (lilun 理论) and cosmopolitanism. All of this structured and shaped what became “Jameson” as a scholar-brand in China.  Yet, his genuine interest in China and specifically in the Chinese revolution and its socialist politics always sat strangely athwart a 1980s/1990s intellectual field rapidly repudiating the radicalisms of a previous era, hoping instead to shed the stigma of socialism so as to converge with the very capitalist world and wildly consumerist cultures that were the targets of Jameson’s withering gaze and critique. 

What has struck me about the WeChat testimonials I have read – and I cannot say I have read a huge number – is how many somehow elide the politics of Jameson’s Marxism to focus on the more purely methodological aspects of his oeuvre. While labeling him a “great Marxist philosopher,” these commentators nevertheless appear to divide him in two: a philosophical thinker with a political significance deemed less relevant and that can be left to the side; and a “critical” thinker whose abstract methodology remains of interest. That is, the philosophical appears subordinated to the apolitical appropriation of Jameson as exponent of method, centrally of historical materialism, mediation, and totality. Each of these methods – curiously shorn of their particular historical stakes –takes on a fundamental role in operationalizing Jameson without subscribing to his Marxist orientation. Of course, this impulse to run from politics is not just a Chinese scholarly proclivity; it has informed more generally the scholarship and commentary of many of those who want to claim some Jamesonian genealogy without the perceived taint of his Marxist leanings.

I am not here to proclaim what is the correct way to think Jameson. Nevertheless, I would maintain that, just as Carl Schmitt cannot be raised without centrally referencing his fascism, Jameson too cannot be taken up seriously without his Marxism. Indeed, ideology critique is one of the most important aspects of Jameson’s theory as scholarly practice. And here, I’m arbitrarily reminded of a perhaps relatively minor piece he wrote in 2001 for the journal, Radical Philosophy, “Nothing but a Commodity,” on a new translation of Lukacs’ A Defense of History and Class Consciousness: Tailism and the Dialectic. I’m reminded in two ways. First, personal: whilst preparing for my written qualifying exams, everyone who took a field exam with Fred was instructed by their seniors that, when writing about Lukacs, one needed to note how his theory of the proletariat as the subject of history was both Eurocentrically limiting and historically constraining. In my exam paper, I dutifully critiqued Lukacs in that vein. But, second, I’m reminded in a political-theoretical way as well: to my mind, Jameson’s attempt in this longish essay to banish the dogmas of Leninist vanguardism while retaining a sense of politics and the historical as full of dialectical possibility is enabling. His provocation that politics is the “requirement for political appreciation and intelligence” (RP 110, Nov/Dec 2001: 38) rather than rigid organizational formula seems important to remember these days, as we incite against a genocidal regime intent on wiping out the Palestinian people and simultaneously against our university administrations busy criminalizing those of us who dare to speak a critique of the current Zionist ideology and the Israeli state’s violent will to power. I don’t have anything particularly incisive to say about Fred. Others who have studied his thought, rather than studied with his thought as I have, are far more qualified to say important things. So, I’ll just end with the wise words of Fred’s friend and generational colleague, Harry Harootunian, who wrote thus to me about Fred’s passing: “he was the inspiration and force of our times.” May that spirit live on as a political principle and a politics worth articulating and defending.  

Rebecca Karl is Professor of History at New York University

Raymond Tsang reviews Yau Ching, Wet Dreams in Paradise (天堂春夢 二十世紀香港電影史論).

Yau Ching, Wet Dreams in Paradise (天堂春夢 二十世紀香港電影史論). Taipei: Linking, 2024. ISBN: 978-957-08-7296-5. NT$600 

As recent film and media studies have shifted focus away from texts, authors, production to technologies, environments and posthuman infrastructures – drawing inspiration from archaeological and ecological approaches – one might ask why we might read Yau Ching’s recent book Wet Dreams in Paradise that re-centers genre, history and authors in Hong Kong film history. To address this question, we need to contextualize the issue. 

Following the Anti-Extradition Law Movement (2019) and the establishment of the national security law (2020) in Hong Kong, Chief Executive John Lee suggested in his 2022 Policy Address that people in Hong Kong need to “tell good stories of Hong Kong.” By this, he meant attracting more global capital and investors to Hong Kong to ensure stability and prosperity while affirming faith in the “One Country, Two Systems,” a constitutional principle that has allowed Hong Kong to maintain connections with markets in Mainland China and the Association of Southeast Asian Nations. Since then, the phrase “telling good stories of Hong Kong” (shuo hao xiang gang gushi 說好香港故事) has become prevalent in everyday discourse. 

However, telling stories – particularly stories about Hong Kong – is difficult. As cultural critic Leung Ping-Kwan suggested, “These stories do not necessarily tell us anything about Hong Kong, they just reveal something about the ones who tell the stories. The stories tell us what side someone stands on when they speak.” The question, “Why is the story of Hong Kong so difficult to tell?” was also explored by film scholar Ng Ho in the mid-1990s; Ng describes Hong Kong film as “historically retarded” (lishi chidai zheng 歷史痴呆症), often ignoring historical accuracy in favor of exalting and participating in global postmodern culture. Yau’s book serves as a reminder that to tell good stories, we must draw on the resources we have. As Yau comments in an interview, “It is about how we learn from historical resources, and consistently open paths to alternative knowledge production.” She emphasizes the importance of understanding our origins and exploring future possibilities. To tell good stories, she says, we need to move beyond the “position” people take and consider the diversity of resources available or hidden.

Yau’s book is not purely a film survey. It revolves around three main intersecting themes: Chinese leftism, gender and sexuality, and Hong Kong identity. Her methodology is primarily genre analysis, searching for ironies in various historical encounters, and correcting and rethinking stereotypes associated with certain hackneyed concepts and figures. But why genre analysis? Genre films – such as martial arts, costume dramas, crime, horror and thrillers – remain representative of Hong Kong film culture. Consider the global and mainland Chinese perception of Hong Kong films. The fact that Hong Kong filmmakers, whose expertise lies in genre filmmaking, went to the mainland for co-productions – including Andrew Lau and Tsui Hark, known for their work in gangster and action films, and who collaborated with the Chinese government and investors to remake revolutionary model plays and Communist propaganda like The Taking of Tiger Mountain (2014) and The Founding of the Army (2017) –  demonstrates that genre analysis also serves as a form of historical, socio-cultural and ideological analysis.

Unlike many Hong Kong film scholars who begin the history of Hong Kong cinema by discussing its origin or the first distributors and exhibitors, Yau does not start with a rigid late nineteenth century beginning but rather examines the metaphor of “twin sisters” between Hong Kong and Shanghai film industries in the 1930s. The metaphor refers to the characters in Chinese melodramas, the Hong Kong and Shanghai film industries, and the binary position between Chinese Communist Party and the Kuomintang of that decade. In her film analysis, the “twin sisters” share the same umbilical cord, which Yau identifies as the irony of leftism. She pays attention to the evolving meaning of the term “left” or “left-leaning” and unpacks the articulation between leftism and gender in 1930s Shanghai, noting how Hong Kong films participate in a similar ambiguity. Akin to Pang Lai Kwan’s concern in Building a New China in Cinema, Yau argues that the irony of leftism lies in its social critique of capitalism, which often involves the erasure of sex, desire and bodies (52). While left-leaning filmmakers in Shanghai sought to promote women’s independence in films, the portrayal of women – such as those in Cai Chusheng’s New Women (1934) – had to navigate the complex intersections of party-state ideology, Confucianism, American religious influence, nationalism, and progressive ideas (44). The gender issue, Yau suggests, serves as a façade for male filmmakers to express their anxieties about a dying nation. These filmmakers critiqued material desire by suppressing women as objects of desire, while simultaneously spectacularizing their bodies. In short, this form of leftism, which purported to promote women’s independence, ended up suppressing sexual desire, aligning itself more closely with Protestant asceticism and the spirit of capitalism. 

This ambiguity of leftism is also evident in Hong Kong’s leftist film industry. From the 1930s onwards, Cantonese films were often considered backward and superstitious. To improve their reputation, some progressive, left-leaning, and patriotic filmmakers founded the Union Enterprises in 1952. Their successful works included film adaptations of May Fourth classics. However, Lee Sun-fung’s Cold Nights (1955) disappointed the leftist Chinese author Ba Jin because he believed the original female character was more radical than the one in the film adaptation. Yau points out that given Hong Kong’s diverse target audience, many progressive filmmakers in Hong Kong had to incorporate feudalistic elements. Hong Kong viewers, for instance, may not have accepted women who engaged in extramarital affairs or displayed radical behaviors (172-3). The irony Yau highlights in her book serves as a reminder that binary opposition, especially those constructed during the Cold War, should be avoided. The grand narrative imposed by Cold War powers – between China and Taiwan, and the U.S. and the Soviet Union – positioned Hong Kong as a cultural battlefield. These binary oppositions often obscure the significant collaboration and shared ambiguities between leftist and rightist filmmakers and studios, thus suppressing the visibility of some filmmakers and encounters.

In historicizing her genre analysis, Yau provides a compelling exploration of pre-modern feminist movements. For example, in her analysis of Go Lee-han’s The Light of Woman (1937), she highlights the history of “comb sisters” (zi shu nû 自梳女), who were considered revolutionary in the late Qing dynasty for their decision to remain single for life. These women were targeted by the Qing government as part of the Heaven and Earth Society. Yau also offers a brief history of waitress or server (nü zhaodai 女招待) labor strikes from the 1920s to 1940s in Guangzhou, illustrating how public discourse transformed the image of waitresses from threats to male employment to victims of a decadent modern society (124-6). Yau argues that the public discourse and filmic representations of women’s independence remained feudalistic in the 1950s, as it was assumed that women lacked the ability to think independently and were easily manipulated (125). 

On the other side of this victimization and asceticism in female representation is the concept of “damaged” masculinity (zhesun yanggang 折損陽剛), which Yau believes persisted from 1950s leftist films to the 1980s comedies in Hong Kong. Male characters are often depicted as physically and emotionally traumatized, appearing weaker than their female counterparts. Even filmmakers such as Chang Cheh and Bruce Lee, whose action films are often regarded as ultra-masculine (yanggang 陽剛), had to confront this “damaged” masculinity complex. Chang Cheh shows the decimated male bodies full of blood and torture in premodern China while Bruce Lee demonstrates his naked chest and agility of body in front of a western prostitute. Bruce Lee attempted to overcome the “damaged” masculinity by adopting a model of foreign masculinity inspired by Tarzan – a white man’s privileged body embodying mobility, unbridled individualism, purity, openness, and freedom. These kungfu films and their portrayal of male bodies helped colonial subjects internalize colonial models and the American dream (328).

Yau is not entirely pessimistic about commercial cinema. She offers a revisionist perspective on Li Han-Hsiang’s Wind Moon film series (or soft pornography) in the 1970s and seeks to liberate the perception of sex and sexuality in Li’s oeuvre. She questions the separation between pornography and erotica (347) and refutes the claim that Li produced the Wind Moon film series out of desperation during his low point in the 1970s. On the contrary, Yau argues, Li presents a variety of marginalized, non-heterosexual relationships that challenge dominant perceptions of sexual desire. Li’s sluts are empowered and confident, articulating a vision of sex imagery that remains untamed and unauthorized by modern standards.

In recent decades, nostalgia for the 1980s has led many to view that era’s films as the definitive representative of Hong Kong identity. Yau offers a radical re-reading. She argues that the 1950s should be considered the golden era of Hong Kong cinema (156). This decade saw a flourishing of different productions, filmmakers, diverse themes, and opportunities within the film industry. During the 1950s, Hong Kong films, especially those with left-leaning perspectives, provided critical insights into Hong Kong society and engaged seriously with social issues. Various manifestos, film studios, companies, and distributions networks emerged during this time. Yau writes, “To destroy Hong Kong culture, the most efficient way is to eliminate the leftists in Hong Kong” (231). It follows for her that the depoliticized Hong Kong identity of the 1980s was due to the suppression of leftist culture following the 1967 riots. While the colonial government tightened control over leftist organizations and unions, radical Red Guards from the mainland imposed strict demands on Hong Kong leftist newspapers, films, and publications. Yau continues, “The left-leaning culture was marginalized and destroyed. This led to the failure of Hong Kong people to return to the motherland with their hearts (ren xin huigui 人心回歸) in the next forty to fifty years” (232). That is, for Yau, the making of local identity involved reinforcing colonial and Cold War powers, along with Euro-American ideologies (408). 

Yau also challenges the colonial government’s benign façade in her discussion of the Hong Kong New Wave in the late 1970s. The welfare infrastructure, free education, mass transportation, and other developments during the tenure of Hong Kong Governor MacLehose are often credited with founding a specifically Hong Kong identity in the 1970s. However, Yau argues that this affective identification with British colonial power was a strategic tool for the British government in its negotiation with Beijing. Fear and anxiety toward Communist China went hand in hand with the narrative of Hong Kong stability and prosperity under the colonial regime. Ann Hui’s critically acclaimed Vietnam trilogy – Below the Lion Rock: The Boy from Vietnam (1978); The Story of Woo Viet (1981); Boat People (1982) – Yau suggests, reinforced these fears, allowing Hong Kong viewers to affirm their future by identifying with Vietnamese refugees (425). 

For the people of Hong Kong, the transition from 1984 to 1997, from when the Basic Law was signed to the handover, was marked by many ups and downs. Some Hong Kong people found opportunities in South China, while others migrated to the UK, the US or Canada. Some discussed returning to the mainland, while others hoped to exchange Hong Kong sovereignty for the right to govern. Disillusionment reached its peak after the 1989 Tiananmen Massacre. As Yau says, dreams often turned into nightmares, and vice versa. This roller-coaster experience was not only political but deeply socio-cultural, best manifested in Hong Kong comedy and slapstick films of the time. 

Yau concludes her book by discussing Stephen Chow’s nonsensical comedy. Chow’s plots and acting highlight the dislocation of reaction or the absence of reaction. This dislocated reaction, or lack thereof, rejects conversation because the nonsensical aspect, known as mo-lei-tau (無厘頭), is a form of speechlessness and an inability to express care or love (486). Mo-lei-tau rejects the subject position in the grand narrative. For Yau, under this speechlessness, there is a silver lining of collectivity in Chow’s CJ7 (2008). While Chow’s films often feature ugly women and masculine sidekicks engaging in transvestism or cross-dressing for comedic effect, yet, in CJ7 (2008), Yau argues that the child actors, who cross-dress without the viewers knowing it, are not playing for comedic relief. Instead, the main character, who cross-dresses, comes from a working-class family. These disregarded subjects gather together, finding temporary “empowerment,” allowing them the pleasure of feeling “a bit normal now” (493). Yau questions whether this temporary alliance – the oppressed in terms of class and gender – can reveal the legacy and resources that Hong Kong cinema accumulates in the twentieth century.

Nostalgia for the past is part of the neoliberal drive in Hong Kong and around the world. Fear and anxiety persist. Local mom-and-pop shops are demolished and replaced by chain stores and real estate’s development. However, nostalgia for the past can be critical. There are different origins and resources to learn from. How far can popular culture take us? Without understanding the diversity in its own legacy, such nostalgia can only become a burden. Yau’s book helps us understand these issues with reference to Hong Kong cinema.