Up
the Yangtze is a film about the people of China who
are being affected and forced to relocate their homes due to the building of
the Three Gorges Dam across the Yangtze River. This film talks about how parts
of China are now transitioning from a peasant based economy where most of the
people farm for a living and how its expansion of rural areas and falling of
tradition is rapidly affecting many of the locals and their families. While watching
this film I started to think about the terms we have learned about in this unit
and found many instances in the movie where these three concepts are depicted: Alterity, Diaspora, and Hegemony.
Alterity can be seen widely throughout the movie
when we recognize the “otherness” that the Chinese farmers depict, specifically
Cindy’s family. Cindy’s father is a typical, poor, Chinese farmer that is
alienated from the rest of society because he is uneducated and does not have
the proper skills to work what is considered a “real” job in China. The rest of
the country is benefiting from the Three Gorges Dam; meanwhile, the Chinese
farmers are losing everything they have and are being forced to relocate their
homes when their life on the Yangtze River is basically the only life they've ever known. A scene that I think shows alterity perfectly is the heartbreaking
scene where a working man starts talking about how he and his people got beaten
and dragged away from their homes because they could not afford to bribe the officials’
to let them stay. This scene proved that
they are not only considered different than the upper class, but treated
differently as well. They are not cared about nor respected by officials as the
upper class are. It is easy to distinguish the lower class from the upper class
in this film because of their alterity. The lower class is talked down to and
are claimed to know nothing about the dam or about anything else for that
matter. To the upper class, the lower class is considered to be unwanted,
uneducated outcasts who can be talked to or treated in any manner as they see
fit. Their “otherness” essentially defines who they are to society.
The most interesting thing about alterity in this
film is the fact that the Chinese farmers aren't the only ones that are dealing
with “otherness.” Alterity can be seen from both sides in the way that the
upper class tourists on the boat are treated as well. The tourists are considered
to be spoiled, ignorant people. As stated in the film, foreigners long ago were
considered “foreign devils” to the Chinese. Through out the movie we constantly
see the boat staff being trained on how to interact and speak to the boat
tourists. They are told to not discuss political issues, issues with the dam,
and other subjects such as monarchies or royal families with the boat tourists.
In a sense, the Chinese boat staff is basically told to be proper at all times
with the tourists and to essentially hide many things that are going on with
the dam. These tourists aren’t necessarily aware that poor people in China are
not necessarily happy about having to relocate because of the damn. The Chinese
boat staff are essentially putting up a front for the tourists; making them
feel like outsiders because everything bad is hidden from them. I recall a
scene in which a tour guide is giving tours of the poor people’s new homes and
he can’t even say that everything is okay with a straight face. He awkwardly
tells the tourists that “everyone is happy” and laughs while saying it.
Obviously the relocation's are making the poor people far from happy, but to the
tour guides, the tourists don’t need to know the truth because they are
essentially “outsiders.” The boat staff believes they can tell the tourists
anything to make them happy because the tourists don’t know any better.


--Dina Kratzer
Dina –
ReplyDeleteFirst of all, I appreciate the length and breadth you went into to discuss alterity, hegemony, and diaspora with the film Up the Yangtze. You really helped me better understand these terms and their relation to Chung’s efforts in producing this film.
For alterity: You said that their “otherness” defines who they are to society, and discussed the scene where an older gentlemen describes how his people were dragged away from their homes because they didn’t have enough money to pay the guards/officials to let them stay. While I think this is a pretty good example of alterity, I also think that since alterity can mean “a lack of identification with some part of one’s personality or community”, it is safe to say that alterity can also be used to describe Cindy’s duality in the film. In one way, she is a peasant, a migrant, forced to work on the cruise ship to provide for her family, and in another way, she is just a young girl who wants to go to school and lives in their shack-like home on the banks of the river. It is her alterity, her duality and otherness, that makes the film so interesting. Chung’s juxtaposition of characters, whether they are juxtapositions that are internal as we see with Cindy, or her life in contrast with Jerry’s, is something that makes the film so remarkable and intriguing, because it’s so much more than just a sad tale about families having to depart from their homes due to the rising Yangtze river.
For diaspora: This is a HUGE term that applies to the film, so I’m happy you decided to discuss it. Diaspora is any group of people who have spread or become dispersed beyond their traditional homeland or point of origin. While we usually think of the body of Jews living out of the land of Israel, this is definitely a relative example. But I thought that diasporas occurred because of political regime/power structures, so it’s interesting to think of this as a natural/geographical diaspora.
For hegemony: Your examples here are great as well. Another thing that I want to point out with hegemony, which is social or cultural predominance by one group within a society, or by a particular set of cultural ideas (especially to the exclusion of others), is that the hegemony goes further than just the Chinese government and social class ranking between Cindy and Jerry. I want to even go as far to say that there is hegemony of the dominance of the river over the peoples of China. Does that make sense?
Overall, I think you did a great job when elucidating the meaning of these terms in the film, but I did just want a little bit more. I wanted you to make some sort of connection that I may not have seen, if that makes myself more clear. What you did was great and you definitely defined and related the terms well to the film, but I wanted more of a puzzling question that you somehow came to a conclusion with.
-Morgan
Dina,
ReplyDeleteI enjoyed seeing how you were able to unpack some of the class terms in action using the film, "Up the Yangtze." I'm a very visual learner so seeing some examples of these terms in action was a great way for me to further solidify some of these definitions into my own memory.
I would agree with your claim that diaspora is one of the reoccurring themes of the film. You mention how there is a physical diaspora within the rural citizens being forced to move away from their homeland. I think this is probably one of the most clear and present examples. It resonants with the audience. However, I'd encourage you to also consider a cultural diaspora that took place within this film. You can clearly see it in action with the tourists and how they interact with the rural residents. Even though they are willing doing so, these tourists are going through a clashing of ideals with the citizens. Their everyday lives become something of a spectacle that the tourist view with fascination. For me, this is pretty hard to swallow. We discussed some of this in the 11 am session on Tuesday and how this really impacts our own viewing of the film. It becomes something of a spectacle for us, in turn. We are also viewing but in turn, both the lives of the rural residents and the situation with the tourists. We often forget to place ourselves in the conversation but view us as almost an unbiased third party.
I think that this is where our own hegemony comes into place. We view ourselves as more knowledgable or wiser than the subjects while watching a film. I can't help but ask if this was directly intentional on the part of Chang as he framed his arguments and the film as a whole. I think we get a taste for some of this when we really see how Cindy interacts with the rest of the crew on the boat. We are almost given a frame where Cindy succeeds because of her upbringing while others fail because of their lack of drive derived from their inherent privileged upbringing. For me, two things become clear in this moment. First, is that this becomes an over-simplification of a larger argument. The other is that Chang has actively framed the narrative to reflect post-production events. He didn't know at the beginning of filming where Cindy or others would end up. Retrospectively, he framed the argument to reflect what ends up happening. I'm not saying that this is a negative thing at all. I'm just saying that I think we need to recognize that we aren't necessarily the arbitrary viewers we believe we are in film. There are many social and racial biases at play here. Some are recognized and used for the advancement of specific argument.
-Kiernan
ReplyDeleteHey Dina,
I enjoyed reading your blog because it really made me think about the film in relation to some of our terms in this class. I did not connect any of them until we took our quiz. I sort of had an epiphany during the writing portion and realized that diaspora was really exemplified in the film. Diaspora was my discussion leading term so I was really able to see the connection. I wrote in my blog how Cindy was living in diaspora because she was taken from her home to live on the ship. She had to adjust to her new surrounds and learn the culture. She had to learn the languages that included words, etiquette and gestures. She also had to learn the technology of the ship. Because she was living in diaspora Cindy had to create her own culture and find her own place. I see though that she was also apart of the “otherness”, or alterity because she was from a poor Chinese farming family. On this ship she was surrounded by people that were privileged making her the other. You are right that she does experience hegemony too because she is dominated by this class that wants to move towards a consumer economy. Your blog really made me think past my understanding of diaspora and its relation to the film.
- Cailyn