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  • Stacie A. Kent, "Coercive Commerce: Global Capital and Imperial Governance at the End of the Qing Empire" (Hong Kong UP, 2024)

    Stacie A. Kent, "Coercive Commerce: Global Capital and Imperial Governance at the End of the Qing Empire" (Hong Kong UP, 2024)
    Apr 2 2025
    In 1842, the Qing Empire signed a watershed commercial treaty with Great Britain, beginning a century-long period in which geopolitical and global economic entanglements intruded on Qing territory and governance. Previously understood as an era of “semi-colonialism,” Stacie A. Kent reframes this century of intervention by shedding light on the generative force of global capital. Based on extensive research, conducted with British and Chinese government archives, Coercive Commerce (Hong Kong University Press, 2024) shows how commercial treaties and the regulatory regime that grew out of them catalyzed a revised arts of governance in Qing-administered China. Capital, which had long been present in Chinese merchants’ pocketbooks, came to shape and even govern Chinese statecraft during the “treaty era.” This book contends that Qing administrators alternately resisted and adapted to this new reality through taxation systems such as transit passes and the Imperial Maritime Customs Service by reorganizing Chinese territory into a space where global circuits of capital could circulate and reproduce at an ever greater scale. Offering a deep dive into the coercive nature of capitalism and the historically specific ways global capital reproduction took root in Qing China, Coercive Commerce will interest historians of capital and modern China alike. Huiying Chen is an Assistant Professor in the Department of History at Purdue University.
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    55 Min.
  • Francisca Yuenki Lai, "Maid to Queer: Asian Labor Migration and Female Same-Sex Desires" (Hong Kong UP, 2021)

    Francisca Yuenki Lai, "Maid to Queer: Asian Labor Migration and Female Same-Sex Desires" (Hong Kong UP, 2021)
    Aug 25 2024
    Maid to Queer: Asian Labor Migration and Female Same-Sex Desires (Hong Kong UP, 2021) is the first book about Asian female migrant workers who develop same-sex relationships in a host city. Based on participant observation and in-depth interviews with Indonesian domestic workers in Hong Kong, the book explores the meanings of same-sex relationships to these migrant women. Instead of searching for reasons to explain why they engage in a same-sex relationship, this book provides an ethnographic perspective by addressing their Sunday activities and considering how migration policies and the practices of Hong Kong people unintentionally produce alternative sexuality and desires for them. The author contrasts the migrant experiences of same-sex relationships with the Western discourse that individuals carry a strong sense of sexual identification prior to migration; same-sex desires among Indonesian domestic workers are often not realized until they leave home. Addressing the changes from maid to queer, this book documents the intersections of domestic work, labor migration, race, and religion on the sexual subject formation, specifically how Indonesian women negotiate heteronormativity and remake a space for their love, sex, and intimacy. For those interested in lesbian studies, Asian labor migration, sexual citizenship, and queer migration, this ethnography fills an important gap in explaining how the feminization of international migration and the constraints imposed on live-in domestic workers unintentionally become productive possibilities of queerness and normativity. Qing Shen is currently a PhD candidate in anthropology at Uppsala University, Sweden.
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    1 Std. und 2 Min.
  • Kathe Geist, "Ozu: A Closer Look" (Hong Kong UP, 2022)

    Kathe Geist, "Ozu: A Closer Look" (Hong Kong UP, 2022)
    Dec 21 2022
    Based on a close reading of Japanese director Yasujiro Ozu’s extant films, this book provides insights into the ways the director created narrative structures and used symbolism to construct meaning in his films. Against critics’ insistence that Ozu was indifferent to plot and unlikely to use symbols, Geist reveals the director’s subtle iconographic paradigms. Her incisive understanding of the historical and cultural context in which the films were conceived amplifies her analysis of the films’ structure and meaning. Ozu: A Closer Look (Hong Kong UP, 2022) guides the reader through Ozu’s earliest silent films, his sound films made during the wartime period and subsequent American Occupation of Japan, and finally takes up specific themes relevant to his later, better-known films. Geist also examines the impact that Ozu’s films had on specific directors in Europe, America, and Japan. Intended for film scholars, students, and fans of the director, this book provides fresh insights into the director’s films and new challenges in studies on Ozu. Kathe Geist is an art historian and author of The Cinema of Wim Wenders. Gustavo E. Gutiérrez Suárez is PhD candidate in Social Anthropology. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez.
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    1 Std. und 27 Min.
  • Michael Keevak, "On Saving Face: A Brief History of Western Appropriation" (Hong Kong UP, 2022)

    Michael Keevak, "On Saving Face: A Brief History of Western Appropriation" (Hong Kong UP, 2022)
    Oct 21 2022
    In On Saving Face: A Brief History of Western Appropriation (Hong Kong UP, 2022), Michael Keevak traces the Western reception of the Chinese concept of “face” during the past two hundred years, arguing that it has always been linked to nineteenth-century colonialism. “Lose face” and “save face” have become so normalized in modern European languages that most users do not even realize that they are of Chinese origin. “Face” is an extremely complex and varied notion in all East Asian cultures. It involves proper behavior and the avoidance of conflict, encompassing every aspect of one’s place in society as well as one’s relationships with other people. One can “give face,” “get face,” “fight for face,” “tear up face,” and a host of other expressions. But when it began to become known to the Western trading community in China beginning in the middle of the nineteenth century, it was distorted and reduced to two phrases only, “lose face” and “save face,” both of which were used to suggest distinctly Western ideas of humiliation, embarrassment, honor, and reputation. The Chinese were judged as a race obsessed with the fear of “losing (their) face,” and they constantly resorted to vain attempts to “save” it in the face of Western correction. “Lose face” may be an authentic Chinese expression but “save face” is different. “Save face” was actually a Western invention. Michael Keevak is a professor in the Department of Foreign Languages at National Taiwan University. His books include Embassies to China: Diplomacy and Cultural Encounters Before the Opium Wars (2017), Becoming Yellow: A Short History of Racial Thinking (2011), The Story of a Stele: China’s Nestorian Monument and Its Reception in the West, 1625–1916 (HKUP, 2008), The Pretended Asian: George Psalmanazar’s Eighteenth-Century Formosan Hoax (2004), and Sexual Shakespeare: Forgery, Authorship, Portraiture (2001). Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts.
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    1 Std. und 15 Min.
  • Lin Song, "Queering Chinese Kinship: Queer Public Culture in Globalizing China" (Hong Kong UP, 2021)

    Lin Song, "Queering Chinese Kinship: Queer Public Culture in Globalizing China" (Hong Kong UP, 2021)
    Jun 10 2022
    China has one of the largest queer populations in the world, but what does it mean to be queer in a Confucian society in which kinship roles, ties, and ideologies are of paramount importance? This book analyzes queer cultures in China, offering an alternative to western blueprints of queer individual identity. Using a critical approach—“queering Chinese kinship”—Lin Song scrutinizes the relationship between queerness and family relations, questioning the Eurocentric assumption of the separation of queerness from family ties. Offering five case studies of queer representations, Queering Chinese Kinship: Queer Public Culture in Globalizing China (Hong Kong UP, 2021)also challenges the tendency in current scholarship to understand queer cultures as predominantly marginalized. Shedding light on cultural expressions of queerness and kinship, this book highlights queer politics as an integral part of contemporary Chinese public culture. Dr. Lin Song is a scholar of media and cultural studies, and Assistant Professor in the School of Journalism & Communication at Jinan University in Guangzhou, China. He holds a PhD in Gender Studies from The Chinese University of Hong Kong, and is currently working on projects related to Emotional and algorithmic governance in China during the COVID-19 outbreak, and Erotic self-representation and queer cultural production in Chinese DIY pornography. Cody Skahan (cskahan@ksu.edu) is an anthropologist by training, starting an MA program in Anthropology at the University of Iceland in August 2022 as a Leifur Eriksson Fellow. His work focuses on the intersections of queerness, environmentalisms, and tourism in Iceland. Cody has a blog at where he sometimes writes about Games User Research and will totally, 100% in the future post the podcast and other projects he is working on.
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    1 Std. und 4 Min.
  • Gary Bettinson, "The Sensuous Cinema of Wong Kar-wai: Film Poetics and the Aesthetic of Disturbance" (Hong Kong UP, 2014)

    Gary Bettinson, "The Sensuous Cinema of Wong Kar-wai: Film Poetics and the Aesthetic of Disturbance" (Hong Kong UP, 2014)
    Oct 22 2021
    The widely acclaimed films of Wong Kar-wai are characterized by their sumptuous yet complex visual and sonic style. This study of Wong’s filmmaking techniques uses a poetics approach to examine how form, music, narration, characterization, genre, and other artistic elements work together to produce certain effects on audiences. Bettinson argues that Wong’s films are permeated by an aesthetic of sensuousness and “disturbance” achieved through techniques such as narrative interruptions, facial masking, opaque cuts, and other complex strategies. The effect is to jolt the viewer out of complete aesthetic absorption. Each of the chapters focuses on a single aspect of Wong’s filmmaking. The book also discusses Wong’s influence on other filmmakers in Hong Kong and around the world. The Sensuous Cinema of Wong Kar-wai: Film Poetics and the Aesthetic of Disturbance (Hong Kong University Press, 2014) will appeal to all who are interested in authorship and aesthetics in film studies, to scholars in Asian studies, media and cultural studies, and to anyone with an interest in Hong Kong cinema in general, and Wong’s films in particular. Gary Bettinson is a senior lecturer in film studies at Lancaster University, UK. He is editor of Asian Cinema, Directory of World Cinema: China and author (with Richard Rushton) of What is Film Theory? An Introduction to Contemporary Debates. Gustavo E. Gutiérrez Suárez is MA in Anthropology, and BA in Social Communication. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez.
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    1 Std. und 28 Min.
  • Katie Cummer and Lynne D. DiStefano, "Asian Revitalization: Adaptive Reuse in Hong Kong, Shanghai, and Singapore" (Hong Kong UP, 2021)

    Katie Cummer and Lynne D. DiStefano, "Asian Revitalization: Adaptive Reuse in Hong Kong, Shanghai, and Singapore" (Hong Kong UP, 2021)
    Aug 3 2021
    Adaptive reuse, or using a building for a new purpose, has become popular around the world, but discussion about adaptive reuse in Asia is relatively scarce. As a result, this architectural innovation in Asia, which includes redesigned institutional buildings, awards for cultural heritage conservation projects, and adapted reuse field studies, is overdue for consideration. Asian Revitalization’s review of adaptive reuse begins by comparing the global presence of adaptive reuse to its presence in Asia and evolves into a detailed examination of adaptive reuse’s relationship to urban development and sustainability, how adaptive reuse supports heritage buildings, and its connection to best practices in heritage conservation in Asia. The text grounds its analysis in essays, timelines, and case studies that focus on revitalization in Hong Kong, commercial development in Shanghai, and community building in Singapore in addition to analysis of government policy documents and extensive fieldwork. At a time when sustainable development is crucial, Asian Revitalization can provide classrooms and a professional readership with a valuable resource about Asia’s participation in this flourishing and creative architectural movement. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Adjunct Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture.
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    58 Min.
  • Eika Tai, "Comfort Women Activism: Critical Voices from the Perpetrator State" (Hong Kong UP, 2020)

    Eika Tai, "Comfort Women Activism: Critical Voices from the Perpetrator State" (Hong Kong UP, 2020)
    Feb 17 2021
    Eika Tai’s Comfort Women Activism: Critical Voices from the Perpetrator State (Hong Kong University Press, 2020) tackles the complex histories of Japanese “military sexual violence” and the activism by women in Japan, mostly since the 1990s. Tai’s contribution to scholarship on the so-called “comfort women” issue begins with a helpful overview of both the comfort women movement and also the political and social context in which that movement arose and continues today. Part 2: Activist Narratives, includes four chapters. Chapters 3-5 look at different ways that activists in Japan―primarily Japanese women responding directly or indirectly to the testimony of survivors―have approached the “comfort women” issue. Tai tells the stories of two or three representative activists in each of these chapters, and demonstrates how they encapsulate a particular way of being “activists in the perpetrator state.” Chapter 6 follows the same structural approach, but ties together some of the threads from previous chapters in its analysis of the transnational feminism that led to the Women’s International War Crimes Tribunal in 2000. The book’s conclusion contrasts this approach with the thought of feminist scholar Ōgoshi Aiko, and introduces the idea of “Feminism against Japan’s Military Sexual Violence,” the title of Chapter 7. Because it breaks new ground in understanding not just the question of military sexual violence, but also the histories of philosophical and activist feminisms, Comfort Women Activism will be of interest to historians of East Asia, gender, social movements, and more. Nathan Hopson is an associate professor of Japanese and East Asian history in the Graduate School of Humanities, Nagoya University.
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    37 Min.