Ironic indigenous primitivism

Taiwan's first ‘native feature’ in an era of ethnic tourism

Datos Bibliográficos

ID19136282
AutoresDarryl Cameron Sterk (0000-0002-0232-0855, National Taiwan University, autor de correspondencia), Darryl Sterk (National Taiwan University)
Año2014
Volumen8
Número3
Páginas209-225
Fecha de publicación2014-09-02
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaJournal of Chinese Cinemas (JOURNAL)
Identificadores de la revistaISSN: 1750-8061 • E-ISSN: 1750-807X
EditorialRoutledge (PUBLISHER • GB)
DOI10.1080/17508061.2014.949158
OpenAlexW3110375780
IdiomaEN
Citas recibidas3
Referencias citadas16

How do contemporary indigenous filmmakers regard primitivism? By way of reply, this article examines Laha Mebow's appropriation of a primitive Sayun in her 2011 film Finding Sayun. 'The beautiful maiden' Sayun was used in the 1943 Japanese film Sayon's Bell to promote wartime mobilization in Taiwan, and has been used since the 1990s in local branding. Mebow seems ambivalent about Sayun: she identifies with Sayun, or at least with the Sayun in Finding Sayun, yet never loses critical distance. Mebow's ambivalence plays out as generic hybridity: Finding Sayun is at once a metafilm, a documentary and a search for roots. Her ambivalence also plays out as irony, and this article argues that, in an era of ethnic tourism, ironic indigenous primitivism is a tactic of packaging a community and then getting a viewer or visitor to open up the package and see what's inside

Aesthetics · Ambivalence · Appropriation · Art · Art history · Criticism · Ethnic group · Hybridity · Indigenous · Irony · Literature · Political science · Psychoanalysis · Sociology · Tourism · Anthropology · Asian American and Pacific Histories · Asian Culture and Media Studies · Gender Studies · History · Japanese History and Culture · Law · Philosophy · Psychology