【#TheDiplomat🌍】難得The Diplomat讀者對香港有興趣:
The series of iron-fisted moves last month in Hong Kong may seem sudden to international observers: Hong Kong government’s earlier reinterpretation of the China-Hong Kong relationship, the election of a pro-Beijing legislator to be a Legislative Council chair through a controversial mechanism, and Beijing’s recent decision to impose a national security law on Hong Kong. The desire to bring Hong Kong under the banner of “one country, one system” is not impulsive. Quite the contrary, it’s a calculated campaign to initiate a so-called “second reunification with Hong Kong” — since the first reunification after the handover, using a lenient soft-power approach, has supposedly failed.
What are Beijing’s calculations that motivate this bold campaign now? And more important, will the campaign work?
While I remain highly skeptical of solely applying the realist framework to study Hong Kong, Beijing’s mentality is nonetheless entirely realism-driven. It is therefore essential to use this lens to understand more of their thoughts.
COVID-19: A Golden Opportunity on the International Stage?
To start with, the coronavirus pandemic seems to have created an ideal backdrop for Beijing to push forward its iron-fisted policy toward Hong Kong. The West has been devastated by the pandemic, more so than China, and has been slower to recover economically. Instead of decoupling from China, Beijing thinks the West is desperate for an influx of Chinese capital and markets. This notion encourages Beijing to pursue brinkmanship, in the form of confrontative “wolf warrior diplomacy,” its escalation of sharp power, and, most recently, Hong Kong’s national security law. As long as the international community does not put their condemnation into action, Beijing will keep pushing the envelope.
Beijing is convinced that the chambers of commerce representing other countries in Hong Kong will always place profits above all else as long as the national security law does not threaten them. Business deals struck at the crucial moment can entice foreign businesses to use their lobby teams in their home countries in Beijing’s favor.
Although anti-China sentiment has become more mainstream, Beijing, the major beneficiary of globalization in the past two decades, has tied its destiny with various elites internationally. These “friends of China” can be swayed to safeguard Beijing’s interests, but the up-and-coming leaders in many countries look less friendly. Therefore, the window of opportunity for Beijing to act is closing before the new value-driven generation comes to power.
The Lack of Incentive Behind the U.S. and U.K.’s Escalating Rhetoric
While U.S. politicians from left to right are vocal against China, their ultimate goal, Beijing believes, is to win votes in the November election. They would hence avoid hurting the interest groups they represent and go easy on actions aiming to punish China, such as denying Hong Kong’s status as a separate customs territory, sanctioning Chinese companies listed in Hong Kong, or escalating the trade war.
Even though the Trump administration is ramping up the rhetoric to sanction China, protecting Hong Kong’s autonomy is not one of the United States’ core interests. In contrast, having control over Hong Kong is China’s core interest. Beijing would rather make concessions over other disputes with Washington in exchange for claiming victory in Hong Kong for its internal propaganda.
Britain, the co-signer of the Joint Declaration for Hong Kong’s handover, is arguably most entitled to denounce Beijing’s violation, which would give mandates to the United States to act. But Beijing is convinced that Britain, not as powerful as it used to be, will not make such a move. Beijing’s recent plans to withdraw businesses from the United States and list them in the London stock market is a move to place a wedge between the two powers. U.S. President Donald Trump’s unilateralism and his harsh stance against U.S. allies also strengthens Beijing’s conviction that the West will not follow the United States’ lead.
Beijing’s Divide and Conquer Strategy in Hong Kong
Hong Kong’s parliament, the Legislative Council (LegCo), is a major roadblock to Beijing’s control, as demonstrated twice since the handover — in 2003 when the national security law was first introduced and in 2019 with the anti-extradition legislation that sparked city-wide protests. In both setbacks, Beijing lost control when moderate pro-establishment legislators broke away from the party line in the face of public outcry. As the September LegCo election approaches, the last thing Beijing wants is for the election to become a de facto referendum on the single issue of the national security law, which could result in another landslide win for the democratic parties. The law would be untenable to the international community if it’s opposed by both pro-democracy voters, which according to polls account for 60 percent of the votes, and moderate pro-establishment voters.
The moderates, despite their reluctance to embrace hardline rule in Hong Kong, differ from the more militant faction within the non-establishment camp in that the former rejects the so-called “mutual destruction” option, which risks Hong Kong’s special trade status — its economic lifeline — as a bargaining tactic to force Beijing to back off. Now that Washington is considering withdrawing Hong Kong’s privileges, the possibility of mutual destruction is becoming real. As Beijing has been promoting a narrative that all supporters of the protest movement’s “Five Demands” are bringing about mutual destruction, Beijing hopes the moderates, in fear of losing their financial assets, might turn toward the establishment.
On the other hand, the pro-democracy camp is at risk of breaking apart. Moderate pro-democracy supporters have been going to rallies to keep up with the political momentum. However, marches with more than a million participants would be impossible under the current oppressive environment. For example, the authorities abuse COVID-19 social distancing measures to suppress rallies, permits for peaceful protests are increasingly difficult to obtain, pro-establishment businesses heavily censored the social media activities of employees, and outspoken individuals are often cyberbullied.
Without support from the moderates, some within the pro-democracy camp may radicalize, as Beijing expects. The radicalization would fit Beijing’s tactic of painting protests as separatism and terrorism, justifying the imposition of the national security law. The trajectory would be similar to Beijing’s handling of the 1959 Tibetan “riots,” during which Mao Zedong’s directive was “the more chaotic the scene, the better.”
The Nationalistic Agenda to Divert Domestic Attention
But after all, to Beijing, Hong Kong is not just Hong Kong. In the wake of the pandemic, Beijing urgently needs to uphold nationalism to divert unwanted attention from its economic crisis. That includes a global propaganda campaign to promote its triumph over COVID-19. Upgrading the Hong Kong protests to a national security issue — as a battle against foreign interference to complete the “reunification with Hong Kong” — best suits the nationalist atmosphere. The all-time low sense of belonging with China among the new generation in Hong Kong further justifies a strong-arm approach. The success of the strategy would offer a way to reunite with Taiwan, which would consolidate Xi’s leadership within the Communist Party.
Also, including the Hong Kong issue as part of the national agenda means that the Hong Kong government, which has already lost its will to govern, will dance to Beijing’s tunes.
This comprehensive crackdown on Hong Kong’s civil society is unprecedented. Beijing believes that the heavy-handed approach would pervade Hong Kong with a sense of powerlessness and bring it to its knees. As long as the international response is limited, the execution of the national security law, according to Chairman Mao’s “theory of contradiction,” will follow a script of “a soft hand” and “a firm hand.” That is, after its imposition, the law will initially apply restraint and be used only on individuals to set a stern example, so that the general public would feel as if the law does not impact them at all and property and stock prices would not fall. Gradually and subtly, if the realist formula of Beijing works, the “second reunification” could become a self-proclaimed success story for Beijing’s propaganda.
However, Beijing’s evaluations are not foolproof. Any single miscalculation could lead to a contradictory outcome for the People’s Republic of China. Is it really prepared?
▶️ 國安法:中國的現實主義框架
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新刊預覽~~✨👀
Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue
自創刊以來,《攝影之聲》持續關注影像書寫、歷史與文化樣態,隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇,邀請攝影史研究者共同參與,推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿,在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中,作為攝影與歷史論述的反思與參照。
其中,金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置,揭示非主流的創作脈動,何以是日本攝影史論中需要補遺的重要章節;陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮,以及以日本攝影雜誌作為平台的競賽文化的可能影響,呈現出戰後台、日攝影界另類的民間交流場域;朴平鍾細述自日本殖民統治結束後,韓國攝影在現實主義與現代主義之間引發的論爭,疏理戰後韓國對於攝影認知的辯證與反省;戶田昌子析論1950年代的日本攝影表現,在脫離戰時的壓抑並逐漸獲得解放之後,受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印;張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識,檢視戰後台灣的影像操縱、治理機制,以及國族攝影史本身的建構和詮釋問題。
攝影,在與光學、化學、政治社會學、文化研究,乃至符號學與精神分析等學科譜系的結合中,已不斷延展、流動、重構,打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論,勾勒攝影理路的發展形貌,本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗,並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇,為濕版法在1850年代於香港興起的考據,展現不同的史料論證。
此外,本期我們特別專訪陳傳興,刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片,一探銀鹽與光交集而生的影像喻意,以及他不停思辨的攝影本質論題。同時,我們也介紹高重黎的聲音與投影裝置新作,析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元,本期專訪日本設計師森大志郎,分享他細膩的平面設計語彙。
儘管維持出版的路途艱辛,這些年我們仍努力在有限的資源下,持續進行資料考掘整理、訪談記錄等基礎工作,緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持,讓我們在新的一年裡,繼續探索未知的影像星河。
▍購買本期 BUY | http://bit.ly/vop-27
Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.
Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.
When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.
In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.
Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like t✨o thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
political realism 在 VOP Facebook 的最讚貼文
Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue
自創刊以來,《攝影之聲》持續關注影像書寫、歷史與文化樣態,隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇,邀請攝影史研究者共同參與,推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿,在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中,作為攝影與歷史論述的反思與參照。
其中,金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置,揭示非主流的創作脈動,何以是日本攝影史論中需要補遺的重要章節;陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮,以及以日本攝影雜誌作為平台的競賽文化的可能影響,呈現出戰後台、日攝影界另類的民間交流場域;朴平鍾細述自日本殖民統治結束後,韓國攝影在現實主義與現代主義之間引發的論爭,疏理戰後韓國對於攝影認知的辯證與反省;戶田昌子析論1950年代的日本攝影表現,在脫離戰時的壓抑並逐漸獲得解放之後,受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印;張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識,檢視戰後台灣的影像操縱、治理機制,以及國族攝影史本身的建構和詮釋問題。
攝影,在與光學、化學、政治社會學、文化研究,乃至符號學與精神分析等學科譜系的結合中,已不斷延展、流動、重構,打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論,勾勒攝影理路的發展形貌,本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗,並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇,為濕版法在1850年代於香港興起的考據,展現不同的史料論證。
此外,本期我們特別專訪陳傳興,刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片,一探銀鹽與光交集而生的影像喻意,以及他不停思辨的攝影本質論題。同時,我們也介紹高重黎的聲音與投影裝置新作,析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元,本期專訪日本設計師森大志郎,分享他細膩的平面設計語彙。
儘管維持出版的路途艱辛,這些年我們仍努力在有限的資源下,持續進行資料考掘整理、訪談記錄等基礎工作,緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持,讓我們在新的一年裡,繼續探索未知的影像星河。
▍購買本期 BUY | http://bit.ly/vop-27
Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.
Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.
When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.
In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.
Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like to thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
political realism 在 What is Realism in Global Politics? - YouTube 的推薦與評價
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