Burke’s Terministic Screens & Up In The Yangtze

At first glace, one would not think there to be any sort of relationship between Up In The Yangtze and Kenneth Burke’s Terministic Screens. But because of this documentary’s themes, which involve many juxtapositions, the two have many correlations in relation to the concept of identity as well as alterity and hegemony, which we have recently discussing during lectures.

To begin, I want to start off by talking more generally about the term indentification as it related to Kenneth Burke and his text on Terministic Screens. Burke describes the term identification as the assimilation, and ultimately adaptation of an individual’s ideas and behaviors to meet those of an existing group. These developmental norms tie in well with behavioral psychology, and how people adapt to their surroundings, and how individuals acclimate themselves to a new situation given our new circumstances and desire to be part of a group, regardless of what this group is or what it represents. Moreover, Burke states that identification acts as a pseudo “key to perception.” Identification also finds its roots in symbolism according to Burke; therefore, the more that an individual associates themselves with their understanding of culture, history, and nationality for example. After this occurs, the more an individual is able to understand their identity, and thus adapt at a better and more successful rate than others. Burke goes on to comment about how everyone uses terministic screens in their everyday life. For Burke, a terministic screen serves as more of a filter, where “terminology creates a screen through which we view the world and perceive our reality,” (49). All the while, relating this term back to a given audience, because “any such screen directs the attention to one field rather than another…those that the audience can identify with and those that the audience disassociates from. Therefore, terms [and screens] either produce continuity or discontinuity,” (50).

To relate the concepts of audience and identification to Up In The Yangtze through a terministic screen, we must assess the relationship of the terms alterity and hegemony in relation to the documentary. First off, alterity proves itself to be defined as diversity, and therefore differentiation. But in this film, alterity through a terministic screen is portrayed as a negative approach to life. Either you are for the building of the dam and the relocation of your family, or you can find yourself homeless really quickly. Alterity is viewed as a dissociative norm in this representation of Chinese society, simply because it is going against the bigger wishes of the perceived population, which says that the dam should be built and that China should suddenly embrace all this influx of Western business. The terministic screen through which we must look at alterity in its relation to the film, is that it is not good for the people who live along the river. Their dissociative behavior makes them a target because they would rather not be run out of their home, and forced into government subsidized homes, despite the fact that this is something they have to do. We see this with Cindy’s family, and the fact that they are not even recognized as first class citizens because of their social standing, and the fact that they farm just to live.

Moreover, in relation to the term hegemony, Up In The Yangtze shows us that there is indeed a terministic screen of patriarchy that continues to be prevalent in China. When discussing hegemony in the east, you have to look at this concept with hindsight. Hong Kong was occupied by the British and until recently was part of the common wealth, Japan has been occupied by the Americans ever since World War II. All over Asia there are countries where patriarchic hegemony still roams free, and the impression of it can be seen. For instance, when relating this term to Up In The Yangtze, we can see that the citizens of this area of the river are perpetually controlled by their government, and are almost part of a caste system when dealing with the actual classification of citizens. Cindy’s family for example, thoroughly feels the hand of hegemony looming over her family, as she has to leave school and work, because nothing else can be done due to the situation. There is a contrast between “Old China” and this new, modern, industrialized China which has accepted all of the evils of capitalism for what they are in actuality.

Overall, Burke’s concept about terministic screens allow us to look at issues through a particular scope or lens. Therefore, the conceptualization and recognition of these said screens proved to be useful when attempting to compartmentalize and allude some of our most recently discussed unit terms with Up In The Yangtze.