Archive for the ‘Hong Kong’ category


Back on RNZ’s The Panel: on Hong Kong’s new national security legislation

08.07.2020


Public domain/Pxhere

What a pleasure it was to be back on The Panel on Radio New Zealand National today, my first appearance in a decade. That last time was about the Wellywood sign and how I had involved the Hollywood Sign Trust. I’ve done a couple of interviews since then on RNZ (thank you to my interviewers Lynda Chanwai-Earle and Finlay Macdonald, and producer Mark Cubey), but it has been 10 years and a few months since I was a phone-in guest on The Panel, which I listen to very frequently.
   This time, it was about Hong Kong, and the new national security legislation that was passed last week. You can listen here, or click below for the embedded audio. While we begin with the latest development of social media and other companies refusing to hand over personal data to the Hong Kong government (or, rather, they are ‘pausing’ till they get a better look at the legislation), we move pretty quickly to the other aspects of the law (the juicy stuff and its extraterritorial aims) and what it means for Hong Kong. Massive thanks to Wallace Chapman who thought of me for the segment.

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Posted in business, China, culture, Hong Kong, media, New Zealand | 1 Comment »


Why I don’t find the Asiatic characters on Little Britain and Come Fly with Me racist

11.06.2020


BBC

I have a problem with blackface and yellowface, generally when there are more than capable actors who could have taken the role, but I make exceptions in some situations.
   Take, for example, the news that Little Britain and Come Fly with Me are being removed from streaming services because of what are now deemed racist portrayals. Matt Lucas, who plays half the roles in each, has even said that the shows were right for the time but they’re not what he would make today. Yet I don’t find myself being troubled by his and David Walliams’s characters, since in both they are equal-opportunity about it, even going so far as to address racism head-on with Come Fly with Me’s Ian Foot, a clearly racist character.
   I always viewed everyone from Ting Tong to Precious as caricatures viewed through a British lens, and it is through their comedy that they shine a light on the nation’s attitudes. Matt and David might not like me grouping their work in with Benny Hill’s Chow Mein character, who, while offensive to many Chinese, tended to expose the discomfort of the English “straight man” character, usually portrayed by Henry McGee. I can’t think of one where Mein doesn’t get the upper hand. I like to think these characters all come from the same place.
   Sometimes, especially in comedy, you need people of the same race as most of the audience to point to their nation’s attitudes (and often intolerance)—it’s often more powerful for them as it’s not seen as preaching. Where I have a problem is when characters are founded on utterly false stereotypes, e.g. the bad Asian driver, the loud black man.
   And can you imagine the furore if every character portrayed by Matt and David in Come Fly with Me was white? They would be sharply criticized for not being representative of the many cultures at a modern British airport.
   I don’t turn a blind eye to brownface in Hong Kong (Chinese actors playing Indians) or the mangled Cantonese used to dub white actors, but the same rules apply: if it shines a light on a situation, helps open our collective eyes, and make us better people, then surely we can accept those?
   I Tweeted tonight something I had mentioned on this blog many years ago: Vince Powell’s sitcom Mind Your Language, set in 1970s Britain, where Barry Evans’s Jeremy Brown character, an ESL teacher, has to deal with his highly multicultural and multiracial class. The joke is always, ultimately, on Mr Brown, or the principal, Miss Courtenay, for their inability to adjust to the new arrivals and to understand their cultures. Maybe it’s rose-coloured glasses, but I don’t remember the students being shown as second-class; they often help Jeremy Brown out of a pickle.
   Importantly, many of the actors portrayed their own races, and, if the DVD commentary is to be believed, they were often complimented by people of the same background for their roles.
   Powell based some of his stories on real life: a foreign au pair worked for them and brought home her ESL classmates, and he began getting ideas for the sitcom.
   However, at some stage, this show was deemed to be racist. As I Tweeted tonight, ‘I loved Mind Your Language but white people said the depictions of POC were racist. Hang on, isn’t it more racist to presume we can’t complain ourselves? Most of the actors in that depicted their own race.
   ‘I can only speak for my own, and I didn’t find the Chinese character racist. Because there were elements of truth in there, she was portrayed by someone of my ethnicity, and the scripts were ultimately joking about the British not adjusting well to immigrant cultures.
   ‘Which, given how Leavers campaigned about Brexit, continues to be true. I get why some blackface and yellowface stuff needs to go but can’t we have a say?
   ‘Tonight on TV1 news, there were two white people commenting on the offensiveness of minority portrayals in Little Britain and Come Fly with Me. I hope someone sees the irony in that.’
   However, if any minorities depicted by Matt and David are offended by their work—Ting Tong, Asuka and Nanako are the only Asiatic characters they do that I can think of, so east Asians aren’t even that well represented—of course I will defer to your judgement. I can’t pretend to know what it’s like for someone of Pakistani heritage to see Matt’s Taaj Manzoor, or someone with a Jamaican heritage to see Precious Little. However, unlike some commentators, I do not presume that members of their community are powerless to speak up, and they are always welcome on this forum.

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Where does Hong Kong’s new national anthem law leave parody?

05.06.2020


Steve Cadman/Creative Commons 2·0

I don’t profess to be an expert on how Hong Kong law functions these days with its mix of old British ordinances and the laws made after 1997, but one thing that struck me with at least the news reports covering the criminalizing of insults against ‘March of the Volunteers’, the national anthem of the People’s Republic of China, is whether parody—a fundamental part of free speech—will still be permitted.
   I don’t have a problem with the anthem being taught to children as it was sung long before 1949, the establishment of the PRC. It was a wartime anthem, which people like my father knew, having been born in the 1930s at the time of the Sino–Japanese War. It is historical, and it has meaning. It is arguably even more familiar to older Chinese than the Republic of China’s anthem generally sung on the island of Taiwan. But, even back then, ‘March of the Volunteers’ had picked up this parody:

起來! 買嚿牛肉蒸葱菜!

   If I recall correctly, the parody emerged when the Communists and Nationalists were trying to entice the citizenry over to their side, and the Communists were promising food.
   I won’t go in to parody and its relationship to freedom of speech here; there are plenty of resources on it online.
   But does it mean that repeating the parody lyrics would put me at risk in Hong Kong?
   Of course it has escaped no one that the law was passed on June 4, a ballsy move by Beijing.
   Meanwhile, a few members of the UK government have talked about giving BN(O) (British National [Overseas]) passport holders a pathway to British citizenship, leading some to say there would be a brain drain. What I will say here is: the British have talked about defending the rights of Hong Kong people under the joint declaration ever since 1997—indeed, even before, with the Blair-led opposition—and nothing has happened. I’ve gone into my issues entering the UK with this passport before, so you’ll excuse me if I say that actions speak more loudly than words. British politicians have been high on rhetoric for over two decades on this issue and I have no reason to believe the least trustworthy lot they have ever elected.
   I disagree that they are interfering with Chinese affairs if they are simply looking after those that identify themselves as British, but at the same time I don’t think Beijing’s foreign ministry has anything to be concerned about. The British have their own doorstep to think about, and the prospect of millions of Hong Kong Chinese heading there was too hard for them to stomach under Major or Blair, and I do not expect that attitudes have changed.

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Going beyond a blacked-out image: thoughts on Black Lives Matter

04.06.2020

Usually I find it easier to express myself in written form. For once, Black Lives Matter and the protests in the US prompted me to record another podcast entry. I’m not sure where the flat as and the mid-Atlantic vowels come from when I listened to this again—maybe I was channelling some of the passion I was seeing in the US, and I had watched the news prior to recording this.

   My Anchor summary is: ‘Personal thoughts in solidarity with my black friends in the US. Yes, I posted a blackout image on my Instagram but it didn’t seem to be enough. This is my small contribution, inspired by a Facebook post written by my white American friend Eddie Uken where he reflects on his perspective and privilege.’ Eddie’s Facebook post, which is public, is here.

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Live from Level 3

03.05.2020

Finally, a podcast (or is it a blogcast, since it’s on my blog?) where I’m not “reacting” to something that Olivia St Redfern has put on her Leisure Lounge series. Here are some musings about where we’re at, now we are at Level 3.

   Some of my friends, especially my Natcoll students from 1999–2000, will tell you that I love doing impressions. They say Rory Bremner’s are shit hot and that mine are halfway there. It’s a regret that I haven’t been able to spring any of these on you. Don’t worry, I haven’t done any here. But one of these days …

Perhaps the funniest Tweet about the safe delivery of the British PM and his fiancée’s son, for those of us who are Clint Eastwood fans:

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Posted in China, culture, France, globalization, Hong Kong, humour, New Zealand, politics, publishing, Sweden, UK, USA, Wellington | No Comments »


Light humour, dark copy

24.04.2020

I really love Hong Kong 漫畫 or manhua, and found this in one of the boxes from the move.

   This was before the days of our having a computer scanner, and I had photocopied it out of a magazine or newspaper. There were years the copier was on the blink and everything would come out way darker than it should be—it was only with a bit of photo editing in a modern program that I got it looking better.
   I swear that copier had a psychic circuit like the Tardis. My father was a technician and knew his way around the machine but could never find anything wrong with it. It was fine when new but there were years everything came out too dark. After my mother passed away, the machine went dark instantly. After a period of mourning, without warning, it brightened again and all was back to normal. The computer monitor at the time did the same thing: I had to set it to its maximum setting to see the screen properly. And around the same time, it fixed itself, and I could turn it back to where it was. Gadgets in mourning.
   Usually you just hear stories of light bulbs frying but we were more high-tech.
   When Dad’s Imac gave up the ghost days after he died (actually, that was the first time we tried to switch it on after he passed away), I didn’t bother trying to get it fixed. I had a sense it wouldn’t be worth it.

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A concert that takes you home

17.04.2020

One bonus of the lockdown was the live Easter Day concert held by Hong Kong’s own Sam Hui (許冠傑), perhaps fairly described as the king of Cantopop.
   I had no idea this was even on if it weren’t for the fire at the Baxter’s Knob transmitter that took out television transmission in our area. Faced with the prospect of no television during lockdown, and as I’m not a cat in an NZI commercial, I hooked up my laptop to the old LG monitor, relocated to the lounge, and streamed that evening.
   We put on TV1 but later that night, I headed to RTHK TV31, a government-funded channel in Hong Kong, and came across the commercial for Sam’s live concert at 5 p.m. HKT on Easter Day, which translated comfortably to 9 p.m. NZST.
   Hong Kong has some COVID-19 restrictions, with the safe distance a lower 1·5 m, though most people wear masks. Even TV hosts are masked on their programmes. There isn’t a big physical audience for the concert: just Sam, his guitar, sitting atop a building on the Kowloon side, with the Hong Kong Island business district skyline as the backdrop. The host is seated a suitable distance away. Some folks are seated in a roped-off area, sitting a bit closer, though masked. There’s a four-camera set-up. For such a massive star, this might have been his smallest physical audience, though on YouTube, the concert netted a six-figure audience (160,000 when I looked) around the world, and no doubt others will have watched on their television sets, while I watched on TV31’s stream. One source suggests a total viewing audience of over 2 million.
   Sam’s still got the same voice, despite being in his 70s—for the most part, he sounds like the young guy in his 20s that I watched on TV before I emigrated, and whose cassette tapes I cherished when they arrived from Hong Kong in the first few years we were in Aotearoa.
   For someone who missed contact with my birthplace, Sam’s music was a connection, something that took me back, a tiny slice of “home” that was both grounding and enjoyable.
   In those early days, Sam’s music struck a chord with HKers because he often sang about the working class, and in plain language. Few artists had done this at the time; most lyrics tended to be in properly structured Chinese, so Sam broke new ground by singing colloquially. A skilled composer and lyricist, we saw him regularly performing his own songs on programmes such as 歡樂今宵 (Enjoy Yourself Tonight), a variety show that was a big hit back in the 1970s.
   When he broke into films with his brothers, he was frequently cast as the hero type, and could genuinely claim to ‘star in it, write the theme tune, sing the theme tune.’
   His solo career as an actor hit a high in the 1980s and as the video cassette boom began, I indulged in the 最佳拍檔 (Aces Go Places) series. Most kids in the west watching Hong Kong cinema knew about Bruce Lee or that new guy Jackie Chan, but we locals knew that Sam was who you watched if you wanted decent entertainment with a mix of action and humour—and the obligatory Sam Hui theme tune.
   Watching the Easter Day concert brought back a lot of those feelings of connection, and Sam performed plenty of those earlier hits that anyone my age would know. You never lose your connection to the land in which you were born. Hong Kong might look different to how it did in the 1970s—the tallest building then, Connaught Tower, is dwarfed by the International Commerce Centre a short distance away—but the music took you back, and thanks to the cleaner air during the pandemic, the skies even looked as clear as they did back then. The city’s character remains intact, the concert a reminder of what unites Hong Kong people both there and abroad. We have a distinct culture, one that evolved through the will and the freedom of our people, that I hope will go on regardless of one’s political stripes.

The monitor, incidentally, was much easier to view than the television, with softer colours and less brightness. No matter how I played with the settings on the TV, I couldn’t get them to match. I suspect the TV has a lot of blue light, which makes prolonged viewing difficult. I notice that one can buy blue-light glasses, highlighting once again where we have gone wrong: we humans shouldn’t be adapting to technology, it’s technology that should be adapting to us. The LG (LED) monitor isn’t new, so clearly the technology is available to make TVs calmer on the eyes. Yet no one touts this as a selling proposition. Head into an appliance shop (outside of one’s lockdown) and all the TVs are set on the brightest setting, which would completely turn me off buying one.
   Friends tell me that OLED is the way to go in terms of getting the right setting. One of these days I’m going to look into it, but I will bet you that no one who sells these things in the shops will know what a “calm” screen is. They’ll just get excited about forkay, or maybe even atekay, not someone who wants 32 inches or less who wants to preserve their eyesight. ‘Big! Big! Big!’

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COVID-19 infections as a percentage of tests done: April 13 update

13.04.2020

I can cite these COVID-19 calculations (infections as a proportion of tests done) with a bit more confidence than the last lot, where many countries’ testing figures had not updated. I see the Kingdom of Saudi Arabia has released its total test numbers now, and they show a pretty good result, too.
   Compared to my post of the 7th inst., there are improvements in France, Italy, Switzerland and Germany, while Spain has shown a marked and positive improvement (from 39·58 per cent to 28·25 per cent).
   The UK’s delay and its initial reliance on herd immunity, with sycophants up and down the country agreeing, is showing up now as its number grows slightly, from 20·4 per cent on the 7th to 23·88 per cent with the latest data.
   The US’s numbers are holding fairly steadily with an increase of 0·8 per cent since the 7th (to 19·78 per cent).
   Sweden’s total test figure is one of two inaccurate ones here, having remained unchanged since the last tables, which obviously cannot be right. I estimate they have done around 75,000 tests so far, which would bring the figure to 13·98 per cent, fairly close to the 7th’s, rather than the 19·16 per cent that the Worldometers’ table would have me calculate.
   Also statistically similar are Switzerland, South Korea, Australia and Hong Kong, though Hong Kong’s total test figure is also inaccurate (unchanged from the 7th). Singapore is showing a rise with the reports of community transmission. New Zealand is showing a small drop (2·71 to 2·15 per cent), though the percentage change here is less than what the US’s is.
   Taiwan continues to see its percentage decline with another 8,000 tests done and only an additional 17 infections since the 7th’s post.

France 132,591 of 333,807 = 39·72%
Spain 169,496 of 600,000 = 28·25%
UK 84,279 of 352,974 = 23·88%
USA 560,433 of 2,833,112 = 19·78%
Italy 156,363 of 1,010,193 = 15·48%
Sweden 10,483 of c. 75,000 = c. 13·98%*
Switzerland 25,449 of 193,800 = 13·13%
Germany 127,854 of 1,317,887 = 9·70%
KSA 4,462 of 115,585 = 3·86%
Singapore 2,532 of 72,680 = 3·48%
New Zealand 1,349 of 62,827 = 2·15%
South Korea 10,537 of 514,621 = 2·05%
Australia 6,359 of 362,136 = 1·76%
Hong Kong 1,010 of 96,709 = 1·04%*
Taiwan 393 of 47,215 = 0·83%

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Another COVID-19 table: total infections as a proportion of tests done

07.04.2020

Peter Lambrechtsen rightly pointed out that COVID-19 per capita infection statistics aren’t as good as knowing the infection rate based on tests done, so at 2 a.m. I decided to crunch some numbers based on the stats I had on hand. These are many hours old now but hopefully still indicative of where things stand. Here you want a low percentage, and we are very fortunate to be sitting on 2·71 per cent. This site has tests per million as well, which I haven’t factored in. Taiwan and Hong Kong are looking even better on this measure; Australia isn’t looking too bad, either. The European and US numbers are sobering. Mainland China and the KSA haven’t released their testing numbers, only total infections.
   I don’t really want to go into fatality rates.

France 98,010 of 224,254 = 43·70%
Spain 140,510 of 355,000 = 39·58%
UK 51,608 of 252,958 = 20·40%
USA 369,179 of 1,941,052 = 19·02%
Italy 132,547 of 721,732 = 18·37%
Sweden 7,693 of 54,700 = 14·06%
Switzerland 22,242 of 167,429 = 13·28%
Germany 104,199 of 918,460 = 11·34%
New Zealand 1,160 of 42,826 = 2·71%
South Korea 10,331 of 461,233 = 2·24%
Singapore 1,375 of 65,000 = 2·12%
Australia 5,908 of 310,700 = 1·90%
Hong Kong 936 of 96,709 = 0·97%
Taiwan 376 of 39,011 = 0·96%

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One more COVID-19 post: graphing and animating the data

06.04.2020

Russell Brown linked this COVID-19 trend page by Aatish Bhatia on his Twitter recently, and it’s another way to visualize the data. There are two axes: new confirmed cases (over the past week) on the y and total confirmed cases on the x. It’s very useful to see how countries are performing over time as it’s animated, and to get a handle on what trajectory you’re on.
   I’ve plotted us against some Asian countries and territories in the first graph and western countries in the second. South Korea is doing quite well and Taiwan is really bending its curve down. Try it yourself by clicking on either of the screenshot graphs below.


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