Andrea Acosta, “For Our People”: Reflections on ARMY For Palestine

What would it look like if critical work on Korean popular culture was actually grounded in love for its objects? What is the value of this cultural conversation for the wider global public—not just for fans but for the audiences beyond fandom? These were two of the questions that motivated the launch of MENT Magazine in August of 2024. Yin Yuan and I, co-editors and founders of MENT, developed the magazine to be an accessible yet rigorous digital venue for critical and creative work on South Korean popular culture. Its aim is to bring conversation on Korean media out of its often-siloed spaces and into the broader public sphere—to merge the fannish with the scholarly; adoration with critique. In this, we take seriously Henry Jenkins’ observation that “within the realm of popular culture, fans are the true experts,” as they “display a close attention to the particularity of [the content]” that can often outpace that of the detached academic. Against a history of scholarship on K-culture that has treated its media primarily as commodity, economic export, or flattened geopolitical flow, MENT takes up the fannish understanding of K-media objects as aesthetically and semantically rich: distinct objects capable of expanding into generative, and at times unexpected, discussions on culture, identity, and art. 

MENT is also animated by the idea that Korean pop culture can tell us something about our contemporary moment. As Mimi Thi Nguyen notes in our first-issue interview with the editors of Bangtan Remixed: A BTS Critical Reader, Korean popular culture indexes not just the spectacle of pop celebrity but also the “histories of war and capital, and of racialized bodies”: the broader dynamics of capital, labor, geopolitics, and sociality. “What,” Nguyen asks, “does it look like when we engage these [racialized] bodies, or these cultures, through consumerism? What does it look like when we engage through building solidarities?” 

As a fan myself, these questions have been at the forefront of my mind, particularly in light of the crisis and ongoing genocide in Palestine over the past year. If the fan’s strength, after all, lies in the capacity to consider media as more than just a commodity, then what alternate orientations to capitalism and its market objects are fans specifically able to reveal? Where does resistance to systems of oppression find fannish points of entry? And what is the responsibility of the fan in the face of global injustice? 

ARMY for Palestine (A4P), the fan collective organizing within the BTS community in support of Palestine, is one of the groups in the K-fandom sphere offering concrete answers to these otherwise theoretical questions. As their activist work directs the power of K-pop fandom toward decolonial and liberatory ends, the collective makes a succinct but powerful argument for the dissolution of old binaries: of fan and critic, activist and consumer, viewer and participant. Far from distinct identities, A4P contends, the overlaps between these terms are not only active but increasingly urgent. ARMY for Palestine, in short, offers us a way forward on what organizing in fan spaces can, and perhaps should, look like in a moment of global crisis.

In tandem with A4P’s work, a collective of K-pop fans under the name “Boot The Scoot” organized a protest for Palestine that took place in March of 2024 outside of the Universal Production Music offices in Santa Monica, California. It was the first K-pop–specific, in-person protest to support Palestinian liberation, and the demands were clear: HYBE, BTS’s managing company, must cut its business ties with Scooter Braun, a Zionist music executive with a record of “actively supporting the colonial project of Israel,” primarily through propaganda, and “a growing reputation for unethical practice.” The informational materials circulated before the protest further state that Scooter Braun’s position as CEO of the US branch of HYBE operations (HYBE America) represents, for the South Korean company, an executive-level complicity in Israel’s “violence as an apartheid state” that “has displaced and killed Palestinians for nearly seven decades,” up to and including the violence that has devastated Gaza since October of last year.

The protest had already amassed about two dozen people when I arrived. It was a bright Friday afternoon, and the organizers immediately welcomed my friend and me into the fold. We were handed informational materials, offered water, and invited to take turns holding the Palestinian flag. The next few hours were spent chanting, marching up and down Colorado Avenue, ignoring the few detractors who shouted at us, and cheering with the many, many car honks in support—including one very memorable and enthusiastic ambulance.

As I marched with those few dozen fans, I couldn’t help but be reminded, quite viscerally, of the first time I ever attended an in-person ARMY event at the Highlight Tour in Houston in 2015. It had the same shocking transition from mediated connection and a digital screen to the sudden physicality of real life: of bodies, of voices, of three-dimensional movement with and against other people. Here, emergent and in the flesh, was a community of ARMY who had taken the discourse of online fandom as impetus to show up for in-person, community-oriented political work. And although the group was smaller than some other protests for Palestine I had attended in Los Angeles, this group felt not just welcoming but cohesive. These fans felt, yes, like political allies but also like potential friends: a group with the warmth of familiarity.

I know many people talk about meetups of people from fandom communities in this way—the experience of finally meeting mutuals at concerts, the solidarity of waiting in line with other fans—but I also know from experience just how often this community in fact fails to happen, how fan-to-fan interactions at events can get competitive, ugly, petty, or racist, just as easily as they can go well. In these times, the lack of political and personal value alignment decidedly interrupts the utopic political narratives so often told about ARMY and the fandom’s global force. Even now, ARMY’s social media spaces are marred by the ongoing harassment, doxxing, and obstructionism targeting fans who organize for Palestine—dynamics that powerfully dissolve the progressive narratives told about ARMY by media venues in the past. Today, in place of the formidable fan collective who broke through a xenophobic US music market and fundraised millions for social causes, we have a fractured, incoherent online ARMY community whose values are not only in question but, perhaps, in crisis.

Yet, precisely because the HYBE protest in Santa Monica emerged from a coherent political stance that went beyond the discursive—and because these politics informed everything about the gathering from its conception to its praxis—the event in Santa Monica felt like an articulation of what made ARMY such a powerful space to begin with. In fact, walking with my fellow protesters that day felt more genuinely relational for me than many recent BTS concerts have been, despite the ever-growing seas of coordinated ARMY lightsticks.

The most powerful argument for this same kind of value-driven ARMY identity in recent months has been the ARMY for Palestine collective (A4P). This group of Palestinian-led fan activists has been doing the sustained work of fundraising, protest, education, and organizing in HYBE’s online fandom spaces since October of 2023. A4P’s organizing work provided the backdrop against which the protest in Santa Monica emerged, and the political rigor they bring to the fandom keeps the spirit of that protest defiantly alive. Their leveraging of fandom as a collective force that can produce change has not only paved the way for the ARMY community this year but crafted a broader model for what organizing in fan spaces can, and perhaps should, look like at a time of global crisis.

A critical part of their efforts has been a material critique of HYBE for Scooter Braun’s presence in its executive ranks—one that has resulted in their call for a boycott of HYBE merchandise and music purchases. I say “material critique” here because A4P’s stance has not been to criticize HYBE simply for its proximity to Braun in a vague guilt-by-association way. Rather they have articulated a more specific and material rejection of the flow of artist revenue through Braun toward Zionist ends.

It has been the argument of some fans that Braun receives no revenue from BTS and has only become a target on the grounds of a general protest or dislike. But the flow of revenue from BTS-specific activities to Braun’s own profit is undeniable: in May of 2021, HYBE closed a deal with Braun that granted him personal HYBE shares valued at more than $103 million, in addition to what Forbes called “an undisclosed amount of cash” from HYBE to the producer. Just a year prior, BTS’s revenue represented no less than “87% of the KRW 290 billion ($260 million) Hybe reported for the first half of 2020,” making it difficult to argue that BTS’s (and other HYBE artists’) revenue has no material connection to Braun’s cash bonuses, share profits, and other undisclosed CEO benefits. In fact, the 2022 announcement of a military-service “hiatus” for BTS sharplydevalued HYBE’s stock by 28%—equal to an overall decrease of $1.7 billion in HYBE’s market value—and prompted a backpedaling statement from the company to placate shareholder fears of losing BTS-specific revenue during the enlistment period. Market dynamics like these reveal that BTS’s earnings are, in fact, critical to HYBE—to its shareholders, its management, and its monetary power. Understanding this reality, A4P’s call for a boycott seeks to interrupt the company’s investments of artist-generated revenue in figures like Scooter Braun, who uses those resources in turn to support Zionist propaganda and do anti-Palestinian work.

AliceSparklyKat’s uncompromising observations from earlier this year echo this structural concern. They position BTS’s management as playing a central, rather than peripheral, role in the moral conversation at hand:

Fans are drawn to BTS because of the group’s messages about grief, about injustice, and about friendship. Now, Palestinian ARMY are dying. This is an injustice. These are our friends. I know that BTS wrote Spring Day because they care when young people are killed by unjust systems. And, still, fans are dying.

A manager is someone who is supposed to manage the relationship between a celebrity and their fans. For BTS and ARMY, who is in charge of managing the relationship between young people who are dying and those who claim to speak for them?

SparklyKat’s location of the managerial as a mediating and material force, rather than a symbolic, abstract, or invisible idea, reaches to the heart of A4P’s protest. A4P understand, like SparklyKat does, that when we talk about a HYBE boycott, we are talking about financial complicity in unjust systems. We are not talking about symbolic gestures of support, nor are we speaking theoretically or abstractly. We are talking about where the money goes, and to whom. We are talking about the ways individual purchases always move with or against wider systems—whether we want them to or not, whether we acknowledge it or not.

Under this rubric, the protesters know that BTS’s managerial ties are a part of BTS’s material impact on the world. The fantasy of a pure or direct artist-fan relationship may be compelling or seductive, but such fantasies ignore the corporate structure to which BTS belongs and through which the money must always move. This corporate structure is not secondary or auxiliary to the members but one that mediates the scope of their monetary impact. The executives of HYBE, in other words, are not a vague afterthought located somewhere to the side of BTS but the frame within which they move.

To protest the managerial work of Scooter Braun and to boycott HYBE, then, is ultimately a pressure strategy with a clear goal: disrupt the flow of money toward Zionist ends. Leverage fans’ purchasing power to redirect financial resources away from use against Palestinian liberation. Use the loss of revenue to send a message to HYBE. The debates that attend this kind of protest in fan spaces (Does this mean protesters don’t support the members? What about other groups or companies? What about donating elsewhere or using other strategies instead?) are often symbolic distractions that miss the fundamentally material point: to cut off fans’ personal investments in HYBE so long as HYBE is structurally complicit with ongoing violence.

This refusal is pragmatic. It is uninterested in the stan-culture logic of declaring loyalty or hate, of virtue signaling, or of fanwars for one group over another. The refusal simply withholds money from a managerial system invested in harm.

A4P’s work on this and other initiatives has been both thankless and tireless, yet it is also some of the most important work coming from the ARMY fandom today. To get a more detailed—and personal—perspective on how this work has been carried out, I spoke with one of the Palestinian administrators of A4P at length on a Saturday afternoon this past May. We discussed the origins of the A4P project, its intentions, and the work they have done thus far. The full interview is available in MENT Magazine here.

 

Andrea Acosta is Assistant Professor of Media Studies at Pitzer College and founding co-editor of MENT Magazine

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.

Jack W. Chen, On the Event, Politics, and the University

1. Two May 4ths

On May 4, 2024, University of Virginia President Jim Ryan and his leadership team made the decision to order Virginia state police to forcibly suppress what had been a peaceful undergraduate student protest against the horrendous destruction and loss of life that Israel has continued to inflict on Gaza. State police wearing body armor deployed pepper spray and riot shields against students who attempted to shield themselves with umbrellas. Twenty-seven were arrested and issued with no-trespassing orders; this number included faculty, graduate students, and at least one bystander who happened to be in the wrong place at the wrong time. In remarks subsequent to the police action, President Jim Ryan—a scholar of constitutional law and education—has cited concerns about public safety, outside elements, and policies regarding “time, place, and manner.”[1] In this essay I will not take a position on the arguments made by students and their protest tactics, or directly criticize the decisions of my university’s leadership. Rather, my focus is on the question of what a university is for, and more broadly, on the university as a space of unresolvable contradiction.

Ézé Amos / Getty Images

The date of May 4 is important in the history of student activism, as it was on this day in 1919  that over 3000 students from a dozen universities in Beijing marched to Tiananmen in the center of the capital. The students were gathered to protest the terms of the Treaty of Versailles, which ceded territories in Shandong that had been previously held by Germany to Japan. Students were outraged by the weak Chinese government that had negotiated these humiliating terms that effectively traded one colonial power for another, and allowed the further expansion of Japanese political and economics interests to other northeast territories. Although the protest began peacefully, as Benjamin I. Schwartz writes, “the demonstrators eventually beat a pro-Japanese official and burned a cabinet minister’s residence,” which resulted in the arrest and imprisonment of “hundreds of students.” The demonstrations consequently became more intense and widespread, and over the next month, protests sprang up “in at least 200 other localities,” shops were shuttered in Shanghai, and workers went on strike “in some 40 factories.” As Schwartz goes on to state, “A student movement was born in which women participated, broad public opinion was enlisted, and the sanction of saving China was invoked to achieve an unprecedented degree of student organization and activism.” The government eventually gave in, and over a thousand students “marched victoriously out of jail.”[2] This moment—the May Fourth Incident (wusi shijian 五四事件)—marked the beginnings of what would be called the May Fourth Movement (wusi yundong 五四運動), the cultural and political movement that has often been characterized as the birth of Chinese national consciousness, if not of Chinese modernity.

The conventional narrative of the May Fourth Movement obscures what is perhaps most significant about both the incident and the political and cultural discourses that this moment made possible. Here, I turn to Fabio Lanza, who has argued that we cannot speak of May 4, 1919 as simply a political student protest without understanding how the very idea of student was being constituted at the moment when the university was being created in distinction from the state. What Lanza argues is that the modern student, the student as political activist, was a new formation that challenged the prior figure of the scholar-official (shi 士), which had served as the basic reproductive unit of the imperial state. He writes:

…before the first instance of modern student activism on May 4, 1919, “students” did not come into being as a stable and circumscribed position to be occupied but were instead produced both because of and through the practices and the struggles of those years. Only after and as a consequence of the events of 1919 could “students” become fixed inside a (new) tradition and become connected to specific places (Beijing University, Tiananmen). To put it simply, while there had always been people who studied (sociological “students”), the political category of “students” emerged only as the result of a specific political struggle that was located precisely around the definition of “student.”[3]

Lanza goes on to invoke Alain Badiou’s work Metapolitics in which Badiou insists on the necessity of distance from the state in order to preserve the possibility of true politics.[4] To put it another way, this distancing of the state is for Badiou the rupture through which the state’s insistence on consensus is suspended and deferred, so that other ways of thinking and imagining may take place.

Another deployment of Badiou would be to invoke the concept of event (l’événement), which breaches the state of what has come before—the situation (la situation), as Badiou terms it—thereby exposing the incompleteness of the ruling state’s insistence on a unified field of being (what Badiou calls un compte-pour-un or count-for-one). The event calls into question the oneness of the mathematical set and of the sovereign state, opening up and making visible the true multiple nature of beings, as well as revealing the indeterminacy (what he calls l’indécidable or undecidability) of the event itself.[5] Or, as he has noted in an interview: “an event is something that brings to light a possibility that was invisible or even unthinkable.”[6] It is worth noting that while Badiou has famously championed the Cultural Revolution as an emblematic event of the twentieth century, the May Fourth Movement was precisely a evental moment in which the hypothesis of the student was being proposed at the same time when the university was being imagined.[7] 

Indeed, this evental rupture is precisely what Lanza seizes upon: how a distance was created between the state on the one hand, and the new potentialities of “student” and “university” on the other, and how the classificatory order imposed from the state was in suspension, allowing for the emergence of these new potentialities. Badiou’s language of event may be overly metaphysical, but he is nonetheless addressing how politics comes to be, how the possibility of a community formed through a particular way of thinking might emerge or fail, how the everydayness of how we do our business is not the way that it always must be. And here, let me note just how hard it is to imagine such a rupture, which calls to mind the theoretical commonplace, “It’s easier to imagine an end to the world than an end to capitalism,” attributed variously to Fredric Jameson and Slavoj Žižek, and quoted by Mark Fisher (and sometimes attributed to him as well).[8]

I offer here that the key difference between May 4, 1919 and May 4, 2024 was the role of the university in the protests. For the May 4, 1919 student protesters, the university—particularly Beijing University—was in a parallel state of emergent potentiality, and important leaders and professors at the university, including the university chancellor and self-identified anarchist Cai Yuanpei 蔡元培 (1868–1940), helped support and advise the students. The university could be the site of an event in 1919, but by 2024, it is a seemingly calcified situation, one that seems impossible to reimagine, despite the very brief historical timeline of the modern university structure. Therefore, to understand what was at stake on May 4, 2024 at the University of Virginia—and of course at other North American universities where student protests were met with militarized police suppression—one must ask what is and what should be the university for in 2024.

2.  “Time, Place, and Manner”

The phrase “time, place, and manner,” frequently invoked in recent North American university communications, is one is used to justify limitations on the exercise of free speech, ensuring a balance between the right to speech and the interests of public safety. Not surprisingly, this is the phrase that President Jim Ryan invoked to explain the decision to end the May 4 UVA student protest. Where does this locution come from? An early use of the phrase as it pertains to the United States First Amendment (the constitutional amendment guaranteeing freedom of speech) can be found in the 1941 case Cox v. New Hampshire, in which the U.S. Supreme Court unanimously ruled that the decision by the town of Manchester, New Hampshire to arrest sixty-eight Jehovah’s Witnesses marching in single file down a busy sidewalk without a parade license was not a violation of their First Amendment rights because of reasonable limitations on civic rights occasioned by the needs of public order. What the ruling makes clear is that the court is not interested in the content of the Jehovah Witnesses’ “parade” (that is, the ruling has nothing to do with religious liberty), but only in the conditions under which the action took place. Moreover, when Chief Justice Charles Evans Hughes delivered the ruling, he went on to make the following point:

Civil liberties, as guaranteed by the Constitution, imply the existence of an organized society maintaining public order without which liberty itself would be lost in the excesses of unrestrained abuses. The authority of a municipality to impose regulations in order to assure the safety and convenience of the people in the use of public highways has never been regarded as inconsistent with civil liberties but rather as one of the means of safeguarding the good order upon which they ultimately depend. (§11)[9] 

In other words, at the heart of time, place, and manner restrictions on speech is the claim of the public order, characterized variously as “public safety” and “good order,” but indicative of a broader and vaguer conception of the public good that is meant to govern and control expressive rights.

The question, then, is what is this public order? And on whose behalf is it being invoked? There are three components that are identified in this statement: individuals and groups (call these subjects, the multiple) who are invested with civil liberties; the organized society (call this the state, the count-as-one) to which the individuals and groups belong; and the public or “good” order that is maintained by the organized society and guarantees these civil liberties. The public order would then seem to be a virtual assemblage and site in which the heterogeneous multiple are constituted as part of the homogeneous unity, or how individual subjects are governed and regulated by the state, even when the state does not directly intervene or make itself visible. Of course, it should be said that the public order is simultaneously embodied in a more concrete and visible manner through the law, the courts, and the police, and other control mechanisms of the state, but what Chief Justice Hughes emphasizes is the implicature of civil liberties, the metonymic inference of the state and the public order.

Regulation of time, place, and manner is meant to protect the interests of the public order, and by extension, the interests of the political subjects who may wish to exercise their civil liberties to disrupt and challenge the public order. Let me leave aside the question of the state for the moment and turn back to that of the university, which deploys this same rhetoric of time, space, and manner, and implicitly, the virtuality of public order. Universities tend not to make official policies about “time, place, and manner,” even as they invoke this phrase as justification. For the University of Virginia, the clearest statement is found under the FAQs section of its Department of Safety and Security. Here we find the following statement:

Under First Amendment law, the University may regulate speech in ways that do not relate to its message. For instance, universities may set parameters for crowd capacity, volume levels, or use of amplified sound. Such parameters are sometimes called “time-place-manner regulations,” because they regulate features like the time, place, or manner of speech, rather than its content.

The passage goes on to argue that “reasonable time-place-manner regulations” do not conflict with the First Amendment because such regulations “exist to ensure that speech activities are compatible with each other and with all the other activities taking place in a community,” citing the hypothetical of a city having a policy for reserving park space for expressive activities so that there are not groups engaging in competing events that might “drown each other out,” or time policies that would govern the level of noise in regard to neighboring residences or businesses. Such regulations for the university thus “exist to ensure that speaking events are compatible with regular University operations, including classroom instruction, other scheduled events and activities, research, patient care, student residential life, employee work routines, and the physical integrity of University facilities and property,” and “to protect the physical safety of all community members.” The statement closes by reserving the right to “take appropriate action” when it “identifies a serious threat of imminent physical harm,” though “it is the safety risk, not a speaker’s message, that is the basis for a decision to act.”[10]

The argument here is that the right to speech is only conditioned by the rights of other members of the university community, which may include others who wish to exercise their rights to speech, but more broadly, also those who are engaged in the everyday activities of the university, such as learning, teaching, research, patient care, and work, as well as the physical integrity of the university itself. These competing needs of the multiple are regulated by “time-place-manner regulations,” which may also justify the imposition of “appropriate action to protect” against “a serious threat of imminent physical harm.” Note here that the language of public order is what underpins the need for these regulations, and while the risks identified are reasonable ones, it is not clear what “public order” would mean for a university, which is not a state or jurisdiction within a state (such as a town or municipality). Certainly, universities are like state jurisdictions—and the statement here makes the clear analogy to the city and its park regulations—with governing structures and even police forces that are parallel to those of the state, but universities (even public ones) are clearly distinct from jurisdictional structures of the state.

Here, then, I would like to ask, what is a university for? Of course, universities are for the work of teaching and learning, and for research and knowledge production, but universities are also spaces that claim the jurisdictional force of political authorities, and thus are for the maintenance of a certain kind of institutionality. On the one hand, this is not surprising, as any organization needs rules by which conduct is regulated, but on the other, the university is not an organization in the same way that, say, a corporation is an organization—or at least, the university does not imagine itself as an organization in this way (even if, in many other ways, it is precisely such an organization).

This (imaginary) distinction is the core of the argument that William Clark has made in describing how the modern research university—inherited from the nineteenth-century Humboldtian German university, with its emphasis on measurable productivity and bureaucratic procedures—nevertheless “spared academic charisma,” which became the nonrational kernel of a rational institution. In this way, the modern research university was founded on a contradiction: on the one hand, academics had “rationalized criteria for appointment” but on the other, “had to acquire fame, be in fashion, and display ‘originality,’ a spark of genius, in writings,” which reinscribed traditional forms of personal authority as the new academic charisma.[11] And so, when we teach our undergraduate and graduate students, we are training them in the ways of academic charisma (whether we make this explicit or not), even as we have inherited the bureaucratic forms and logics of the Humboldtian university. We model inspired readings and interpretations even as we tend to struggle to teach how to perform such readings and interpretations; we teach our undergraduate and graduate students often without having been trained as teachers and expect that our students in turn will become effective teachers themselves; and we claim authority in our disciplines, and often beyond our disciplines, and we transfer this authority to our students because this is what justifies academic charisma as pedagogical practice.

This is the contradiction at the heart of the university that is perpetuated, without acknowledgment or full understanding, only becoming visible when the bureaucratic forms clash with the charismatic ideology. The university is comprised of charismatic faculty but the university as institution is itself not interested in charisma (and to be sure, the cultic individualism of charisma raises its own set of problems). This is because what the university seeks to perpetuate is its own institutionality, a logic that is as content-neutral as the rhetoric of time, place, and manner, precisely because it is a formal interest—an interest primarily in the university’s form and the continuity of this form—which is manifested through the myriad technologies of administration. On this point, Clark contextualizes the invention of the German research university with reference to the early eighteenth invention of the policing state (der Policey-Staat) by Cameralists, philosophers of public administration named after der Kammer (chamber), or royal treasury. Policing here should be distinguished from the police as representatives of the law, referring instead to administrative policing practices that are encapsulated in what Clark and Peter Becker have called the “little tools of knowledge” (reports, tables, questionnaires, dossiers, etc.) that produce institutional authority, responsibility, and objectivity.[12] The purpose of administrative policing was to ensure efficiency of labor, management of resources, and standardization of procedures within institutional structures that then sustained institutionality itself as a logic and ideal. The German research university embraced these practices in the nineteenth century, and this legacy is clearly in force today, with the contemporary university’s interest in equitable and transparent procedures that standardize personnel decisions, accountability in expenditures regardless of amount, and hierarchical reporting lines that identify and distribute decision-making powers.

3. Politics, the Police

On May 4, 2024, what we witnessed can be characterized as the making visible of the contradiction between the traditional vocation of the university as site of academic charisma and the modern forms of bureaucratic institutionality, with the modification that the student protestors had transformed the self-authorizing force of academic charisma into political commitment, in many ways echoing the twentieth-century reconstitution of the student as articulated on May 4, 1919. As with all protests, the fundamental claim, prior to the specific or occasional claim, is the right to speak, and in particular, the right to have a voice that may contravene the institution and its interest in the orderliness of public space. Here, we may return to the question of the public order, because the idealization of public order is precisely what the Policey-Staat holds as its animating fantasy, the reason that justifies its efficient machinery. What political protest then troubles is the privileging of public order above dissensus, particularly above dissensus that might result in any change to the values of the public order. Restrictions of time, place, and manner are meant to police challenges to the policing order, so that protests are effectively contained within the stable situation, forestalling the possibility of a revolutionary event.

The place of the political student, therefore, does not exist within the policing state, or at least, not until the student claims her political identity through a claim to speech. Indeed, the politicization of identity can be understood as the insistence that one has a locus, a site, from which to speak. This is how Jacques Rancière has defined politics (la politique), which he defines as “primarily conflict over the existence of a common stage and over the existence and status of those present on it.” That is to say, the stage upon which the political act takes place must be claimed “for the use of an interlocutor who can’t see it and who can’t see it for good reason because it doesn’t exist.” We might understand this as the state’s presumption of unanimous agreement, what Badiou would call the situation and which forecloses the possibility of dissent by rendering inaccessible the occasion for speech itself to those who are not recognized as having the right to speech. This is owing to the implicit, indivisible unity of the state (Badiou’s compte-pour-un or count-as-one), or as Rancière goes on to state, “Parties do not exist prior to the conflict they name and in which they are counted as parties,” indicating that a party to dispute is a partitioning that constitutes the political, a rupture or break from the continuous unity of the situation.[13]

Against this claim to speech, which is the claim to a side, to a party, is the state that represents “good order” through its policing procedures and structures. Rancière invokes the concept of police (la police) in exactly the meaning that the Cameralists understood Policey, which Rancière defines as “essentially, the law, generally implicit, that defines a party’s share or lack of it” (29). The law, but “generally implicit,” because this law is never represented as such, never stated baldly and thus rendered open to dispute. And it is worth remembering that the police is not to be confused with what he calls the “petty police,” the officers of the law who are merely particular instantiations of “a more general order that arranges that tangible reality in which bodies are distributed in community” (28). Policing—and the policing state—is thus “an order of bodies that defines the allocation of ways of doing, ways of being, and ways of saying, and sees that those bodies are assigned by name to a particular place and task; it is an order of the visible and the sayable that sees that a particular activity is visible and another is not, that this speech is understood as discourse and another as noise” (29). This is what time, place, and manner determine. And what Rancière means by politics, therefore, is “whatever breaks with the tangible configuration whereby parties and parts or lack of them are defined by a presupposition that, by definition, has no place in that configuration—that of the part of those who have no part” (29–30). There is a double-contradiction that Rancière is seeking to limn: the contradiction presented by parties who have no place in the order of things, and the contradiction of an order of things that insists on essential unity and yet classifies everything within it.

Although the shock of May 4, 2024 for the University of Virginia was the deployment of state police against unarmed students, this administrative decision can be seen as the logical consequence of the university’s policing logic, how the university views its domain through the perspective of the police, and how it seeks to control who has the right to engage in politics. This is not to diminish the specific intersection here with the university’s history of racialized policing, which can be seen in histories of North American campus police, which were first charged with the protection of students and property against those who did not belong, often racially marked, and became increasingly deployed against students in the 1960s and 1970s as students protested the expansion of university property into surrounding Black neighborhoods and university support for the Vietnam War.[14] Seeing like the police—to adapt the late James C. Scott’s phrase, seeing like a state—is to adopt top-down strategies of control that can only see crises of authority and challenges to the public order when there is a political act that claims the right to be recognized and to speak.[15] This, then, is why ordinances of time, place, and manner must remain vaguely defined and deployed as broad reasons for the limitation and enclosure of student politics, because these ordinances describe the unacknowledgeable ideology of life under the police state.

4. Conclusion: Hospitality and the University

By way of closing, let me invoke the concept of hospitality as a different way of framing the question of politics and the police. Derrida has invoked a hospitality that is not the hospitality of the sovereign host, by which he means a hospitality that is not “on condition that the host…the one who receives or shelters or offers asylum, remain the proprietor, the master of the house.”[16]Rather, he writes of a hospitality of “letting the visitor come, the unexpected arrival, without asking for any account, without demanding his passport,” an absolute hospitality, rather than a conditional hospitality.[17] Derrida’s absolute hospitality (as he is aware) carries with it the risk of exposing the one who claims the position of host (nation, state, master) to the infinite, unforeseeable demands of the one who occupies the position of guest (foreigner, refugee, other), without any juridical process or protection that would institutionalize the relationship between host and guest, and constitute the places of host and guest in the first place.

This question of hospitality and risk is precisely what should have been at the heart of university responses to student protest and civil disobedience. Students might not be constituted as guests exactly, but when they take positions that dissent from the unacknowledged-yet-ever-present political, legal, and economic commitments of the university, they position themselves as other to the unstated juridical hospitalities of the university and in this way take on risk of excommunication. That is, there is no place in the contemporary university for the student who challenges the situation of the university as an economic corporation with undisclosed investments (c.f., the ubiquitous quip “Harvard is a hedge fund masquerading as a university”). Therefore, when students insist on the right to place, which is the right to speech, the policing order of the university is invoked so as to limit the possibilities of any dissenting political consequences. And there could be no place for the student who rejects all institutional structures, who denies the possibility of the university as a formal order that creates the possibility of education even as it is implicated in problematic economic investments, because the student who denies the university absolutely also denies their identity as student.

All of this is complicated by the fact that the university embodies one juridical, policing structure—even as the university may not always acknowledge its constitution as a policing structure that imposes juridical power upon its students—but the state police as (increasingly militarized) security apparatus represents another sovereign structure, one that does not participate in the ideological imaginaries of the university and yet may be invoked when the regulations of time, place, and manner have been deemed violated. The university may call upon the state police, but the university cannot control the state police. The university’s policies—its internal policing logics—are not the policing logics of the state police, which claims broad discretionary powers in carrying out the force of the law, even when those decisions may violate the law that they are intended to enforce. There is a further question here of who authorizes the police to measure out how much force to apply and to determine who has violated university policies. And a question of what constitutes a student—or any person—when university regulations regarding “time, place, and manner” take priority over the rights to speech, public assembly, and physical integrity. The order of the police—the institution that can only see as the police—forecloses upon politics and enacts the flattened unity of the state as count-as-one.

If much of this essay has focused on the critique of institutionality, let me end by affirming my belief in institutional structures, which, on a formal level, provide the ground and framework through which the disssensus of politics may take place. The constitution of the university can still—even now—be a radical event, one that transforms the possibilties of relation itself, but this radical possibility is one that is always being foreclosed by the policing order of institutionality itself. What, then, would it mean for a university to be guided by the principles of an impossible hospitality, which would be an openness to the event and to politics, rather than being guided by the formal mechanisms of institutional regulation in service of its own end?  This would be a risk, as any open door is a risk, for we do not know who will enter, but it is the risk held by the other, and a commitment to engage with the other, that makes community possible in the first place.

Jack W. Chen is professor of literature at the University of Virginia 


NOTES

[1] Ryan, “A Message from Jim Ryan,” UVA Today, May 4, 2024, https://news.virginia.edu/content/message-president-ryan.

[2] Schwartz, “Themes in Intellectual History—May Fourth and After,” in An Intellectual History of Modern China, edited by Merle Goldman and Leo Ou-Fan Lee (Cambridge: Cambridge University Press, 2002), 98.

[3] Lanza, Behind the Gate: Inventing Students in Beijing (New York: Columbia University Press, 2010), 5.

[4] Badiou, Metapolitics, translated by Jason Barker (London: Verso, 2005).

[5] Here I summarize freely arguments made in Being and Event , translated by Oliver Feltham (London: Continuum, 2005), 173–211.

[6] Badiou with Fabien Tarby, Philosophy and the Event, translated by Louise Burchill (Cambridge: Polity Press, 2013), 9.

[7] Badiou, The Communist Hypothesis, translated by David Macey and Steve Corcoran (London: Verso, 2010), 101­–67.

[8] The actual quotation from Jameson is: “It seems to be easier for us today to imagine the thoroughgoing deterioration of the earth and of nature than the breakdowns of late capitalism; perhaps that is due to some weakness in our imaginations,” in The Seeds of Time (New York: Columbia University Press, 1994), xii.

[9] Cox et al. v. State of New Hampshire, 312 U.S. 569 (1941). Text cited from Legal Information Institute, Cornell Law School, www.law.cornell.edu/supremecourt/text/312/569.

[10] University of Virginia Department of Safety and Security (2024), Freedom of Speech FAQs, freespeech.virginia.edu/freedom-speech-faqs.

[11] Clark, Academic Charisma and the Origins of the Research University (Chicago: University of Chicago Press, 2006), 3. Lanza also discusses Clark in Behind the Gates, 73–75. See also Chad Wellmon, Organizing Enlightenment: Information Overload and the Invention of the Modern Research University (Baltimore: Johns Hopkins University Press, 2015).

[12] Clark, Academic Charisma, 12–14, 47–58. Also see Little Tools of Knowledge: Historical Essays on Academic and Bureaucratic Practice, edited by Peter Becker and William Clark (Ann Arbor: University of Michigan Press, 2001).

[13] Rancière, Disagreement: Politics and Philosophy, translated by Julie Rose (Minneapolis: Univeristy of Minnesota Press, 1999), 26–27. Subsequent quotations from Rancière’s Disagreement are parenthetical. Badiou elaborates his own conception of parts (les parties) in Being and Event, 96–97. Note also that Badiou has a sustained critique of Rancière’s Disagreement in the previously mentioned Metapolitics, 114–23.

[14] See Katheryn Russell-Brown and Vanessa Miller, “Policing the College Campus: History, Race, and Law,” UF Law Faculty Publications 1199 (2022).

[15] Scott, Seeing Like a State: How Certain Schemes to Improve the Human Condition Have Failed (New Haven: Yale University Press, 1999).

[16] Derrida, Hospitality, vol. 1, edited by Pascale-Anne Brault and Peggy Kamuf, translated by E. S. Burt (Chicago: University of Chicago Press, 2023), 4.

[17]Derrida and Elisabeth Roudinesco, “Unforeseeable Freedom,” in For What Tomorrow…, translated by Jeff Fort (Stanford: Stanford University Press, 2004), 60.