From Kung Fu to Hip Hop: Globalization, Revolution, and Popular CultureState University of New York Press, 2012年2月1日 - 281 頁 From Kung Fu to Hip Hop looks at the revolutionary potential of popular culture in the sociohistorical context of globalization. Author M. T. Kato examines Bruce Lee's movies, the countercultural aesthetics of Jimi Hendrix, and the autonomy of the hip hop nation to reveal the emerging revolutionary paradigm in popular culture. The analysis is contextualized in a discussion of social movements from the popular struggle against neoimperialism in Asia, to the antiglobalization movements in the Third World, and to the global popular alliances for the reconstruction of an alternative world. Kato presents popular cultural revolution as a mirror image of decolonization struggles in an era of globalization, where progressive artistic expressions are aligned with new modes of subjectivity and collective identity. |
內容
| 1 | |
1 Kung Fu Cultural Revolution and Japanese Imperialism | 9 |
Bruce Lees Kinetic Narrative of Decolonization | 39 |
3 Mutiny in the Global Village | 71 |
4 Enter the Dragon Power and Subversion in the World of Transnational Capital | 113 |
5 Game of Death and Hip Hop Aesthetics | 171 |
From Possibility to Actualization of Another World | 203 |
Notes | 209 |
| 247 | |
| 261 | |
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常見字詞
according action aesthetic American artistic Asia Asian autonomous battle become Black body break British Bruce Lee called capital Chang chapter character Chen Zhen China Chinese Clouse collective colonial commodity communication context dance death decolonization direct effect emerged engagement Enter the Dragon existence expression factory figure film final Fist of Fury forces fu cultural revolution gang genre global Golden hand Hendrix hip hop Hollywood Hong Kong identity imagery imperialism imperialist industry involved Japan Japanese kinetic Kune kung fu cultural labor Lee’s martial arts masses means mode movement moves narrative Nature official organization Oriental original paradigm particularly played political popular Press production relationship representative resistance Sax Rohmer scene seems sense social sound space sphere stage structure struggle styles symbolic Third tion transcendence transnational turn University Warner Brothers workers World writing York
熱門章節
第 4 頁 - The white fathers told us: I think, therefore I am. The Black mother within each of us — the poet — whispers in our dreams: I feel, therefore I can be free.