Closing Remarks: The Poetic Word as a Form of Resistance in the Neoliberal City (Series)

Cornelia Gräbner, Lancaster University

Ilka Kressner, State University of New York

Anne Shea, California College of the Arts

Over the past two months we have maintained on this virtual location an exchange about the poetic word in contemporary neoliberal cities. Contributors have looked at some of the many facets in which neoliberal capitalism, its structures and its agents shape, change, appropriate, and colonize cities and their inhabitants as individual and as communities. We have also explored some of the many facets of the resistances of the poetic word.

In some case the city dwellers themselves use the poetic word as a form of resisting the erosion of their dignity, as in the cases studied by Ilka Kressner and Carlos Minchillo; in other cases, they are participants in the resistant scenarios or city-scapes envisioned by writers. In others again (Kressner, Hu, Shea), the poetic word serves as a reminder of urban environments that have been demolished or otherwise phased out and with them, the socialities and cultures that they gave space to. Sometimes this is done by speaking about the urban environment and the ways in which people perceive and inhabit it; at other times, this is done by inserting the poetic words to challenge, defend, or bring to life a past that the neoliberal status quo is trying to get rid of.

Three types of city dwellers feature throughout these contributions: the disorientated, the disaffected, and the dispossessed.

One thread that connects all these case studies is an awareness of urban temporality as a thick, textured enmeshing of past and present, and the refusal to simplify, unravel or render transparent this temporality which seems to be intricately linked to people’s experience of space. When people are forced into crazy schedules that leave them not a second to pay attention to, or deal with, the unforeseen or the out-of-the-ordinary, when people’s attention spans are subjected to a carpet bombing campaign that shatters them into a myriad of smithereens, when people don’t even have the time to ask someone for directions and listen to someone’s speech pattern and accent and instead, turn to their GPS – in such life-worlds the unravelled, transparent and easily accessible city-scapes and urban topographies of neoliberal cities appear to be a seductive (and often, the only) way of making it into the next moment. What has become clear in these posts is that such urban environments are lethal for difference.

Apart from destroying social territory and cultural space, in such urban environments the needs of the disorientated are played off against the claims, challenges and defenses of the disaffected and the dispossessed. In the contributions of Minchillo and of Gräbner we see how the dispossessed turn the poetic word into recuperated terrain and change the terms of appreciation. In Minchillo’s case studies in Brazil this happens in the thickly interwoven terrain of the favela and in Gräbner’s, it happened in the overlooked urban jungles of Northern England. While spoken word poetry in the favelas resists, in the case discussed by Gräbner the (possibly well-meaning) marginalized members of the establishment proceeded to collaborate in the cultural dispossession of the territorially dispossessed. Within a wider context these case studies touch on the pivotal role that the creative industries and the creative class have all too often played in the gentrification of cities and in disguizing the lack of imagination and creativity when it comes to building worth-while alternatives that genuinely improve people’s lives. These case studies also touch on the role that cultural analysts and critics have and still are playing in the justification of such processes and policies.

The neoliberal city is an assemblage (Saskia Sassen) that moves in and out of social and territorial spaces in the contemporary city; and following on from the above the city-as-assemblage clearly differs from the city-as-texture. The assemblage is one-dimensional in its topographical, temporal and political arrangements. It relies on enforced transparency and uni-dimensionality. The relationship between past and present is linear, and the legacy of the past is either musealized or, when it does not qualify for or resists musealization, it is suppressed and its legacies in the present, often criminalized. The exploration of this relationship between assemblage and texture is one that we take from this exchange for further analysis and exploration.

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Linearity and Cyclicality in Jia Zhangke’s 24 City (2008)

By Jasmine Hu, PhD Candidate at Harvard University

Jia Zhangke, leading filmmaker of the Sixth Generation movement of Chinese cinema, features in his work the urban spaces and dispossessed populations of contemporary China. His 2008 film 24 City examines a physical site in Chengdu City, the capital of Sichuan Province, caught in a moment of transition from the state-owned and managed Communist aircraft manufacturing “Factory 420” to a privatized deluxe apartment living complex called “24 City.” This site’s material transformation bears witness to various thematic narratives of a society in the midst of rapid change: from Maoism to state capitalism, from the collective to individual, from production to consumption. Here I will argue for a re-interpretation of the film to forefront a heretofore neglected discourse — poetry — that is at the crux of the film’s relationship to memory, time, and space.

24 City takes on an unconventional narrative strategy of docufiction, a strategy that film critics by and large did not respond favorably to. The film follows a documentary format, interviewing eight men and women spanning three different generations, each with a personal connection to the aeronautics factory. Echoing the Deleuzean “power of the false,” Jia intersperses footage of real life interviewees and inhabitants of Factory 420 with performances of famous Chinese actors and actresses. These actors who have played legendary emperors, empresses, and warlords, are instead reenvisioned as the former worker-inhabitants of the factory, members of a dispossessed group that the historical narrative of a rapidly developing China leaves behind.

The film’s most obviously self-referential instance of “docufiction” is the interview of former factory worker Gu Minhua. In her youth, the other workers of the factory nicknamed Gu “Little Flower,” based on an observed resemblance to the actress Joan Chen, who plays the Communist revolutionary heroine “Little Flower” in her 1979 film debut. The interviewee Gu Minhua, however, is not a real life person, but a fictional character played by the very same actress, Joan Chen.

This docufictional moment acts as a microcosm of the film’s greater narrative about competing visions of temporality: from socialism to state-sponsored capitalism, from ideal to real, from filmic time to biological time. The film’s ideological slant regarding these lapses, though, is difficult to pin down: is this blending of fiction and truth a subtle condemnation of and resistance to a popular capitalist culture’s encroachment upon the everyday, and of cinematic fiction’s inability to live up to its promises? Or is simply a more neutral observation on the prophetic and inevitable power of both pop culture and the act of naming?

To further develop the semiotics of 24 City’s “docufiction,” I turn to an underexplored discourse that nevertheless suffuses the film: poetry. While the 24 City’s blending of truth and fiction is frequently discussed, less noted is the discursive hybridity of the film, as a text that is an accumulation of diverse media — equal parts documentary, cinematic fiction, portraiture, still life, and, in particular, poetry. Jia’s choice of cowriter for 24 City is not a fellow filmmaker but the poet, Zhai Yongming, a Chengdu City native who was rusticated during the Cultural Revolution in rural Sichuan. Poetic citations of their mutual choosing are interspersed throughout the film, displayed in Godardian intertitles that transition the film between interview subjects. These intertitles feature modern Chinese poets, some older imperial Chinese poetry, as well as translated Western ones like Yeats.

Close reading reveals that several poetic intertitles share the same strategy of “docufiction.” In reading them against the original text of the poems they cite, the quotations of the intertitles often don’t match the original. Instead they freely modify and particularize the original lines:

Take the first line quoted, from Ouyang Jianghe, from the poem Boli gongchang (Glass Factory:

整个 造 飞机 的 工厂 是 一 个 巨大 的 眼球 ,劳动 是 其中 最 深 的 部分 。

The entire aeronautics factory is a great eyeball, labor is its deepest part.

The original reads:

整个 玻璃 工厂 是 一 只 巨大 的 眼珠 , 劳动 是 其中 最 黑 的 部分

The entire glass factory is a great eyeball, labor is its darkest part. Not a huge change: “glass factory” turns into “aeronautics factory,” and “darkest part” becomes “deepest part”. The situational context of the poem is remade to correspond directly to the film’s subject matter. Here’s another, more drastic case of modified citation: The final shot of the film is the city of Chengdu’s skyline. Projected onto it are the final lines by Sichuanese poet Wan Xia, in the poem Benzhi (Essential Nature):

成都 , 仅 你 消逝 的 一面 , 已经 足以 让 我 荣耀 一生 。

Chengdu, even your disappearing aspect, is enough to glorify my existence.

The original reads:

仅 我 腐朽 的 一面 就 够 你 享用 一生。

even my decaying aspect, is enough to enrich your life.

Here the lines are more actively rewritten. The original poem, an address to an unspecified “you,” most likely Wan Xia’s reader, is about life, aging, and questions of truth and the “essential nature” of things. In the film’s epigraph the pronouns are inversed, and the line is instead changed to an apostrophe to the city of Chengdu, the same skyline shown behind the text. A poem that was originally not about urban space or place, but instead about the figure of the poet himself, becomes instead reoriented into a direct address to the city. In the original lines, the subject is aging and undergoing the natural process of decay. In 24 City, the subject of the city is instead vanishing, suggesting a more sudden material obsolescence. The modified lines better capture a motivating fear of the film, of a state capitalist progression that marches forward while erasing and obliterating the past, substituting natural, biological rhythms with artificial demolition. The new lines resist the narrative of history as natural progression. But another poetic citation potentially undermines this narrative of resistance, rendering this device more ambivalent —  perhaps the most significant citation, as it gives the film its title of 24 City. This is a couplet, from an unnamed “ancient poem” quoted early in the film: “The cherished hibiscus of 24 city, in full bloom/ Chengdu shone and prospered.” But so far as I’ve researched, this couplet does not actually exist. It does not come from any existing premodern poem, and has no precedent. Nevertheless the lines are later recited by the real estate agent at the housing development of the new apartment complex, 24 City. The couplet thus becomes a commercialized language, poetry used in the service of advertisement: the prophetic language of Chengdu’s “prosperity”— and its potentially totalizing erasure that comes along with it — is thereby fulfilled through the construction of 24 City as both space and film.

The number “24” is the most prominent “fiction” that the couplet generates– unlike the hibiscus flower, the number 24 is not associated with Chengdu, and instead seems like a deliberate attempt at commercial branding to evoke a sense of modernity and urbanity. 24 immediately suggests the hours in a day, and the constant commercial activity and rapid pace of life of the modern city: “24/7 service,” “open 24 hours.” The digital clock moves linearly, forward, up to the number 24, but then immediately erases and forgets its progress by going back to 1. Yet this number can also speak to an alternate, more ancient system of temporality: the 24 solar terms of the ancient Chinese lunisolar calendar, a cycle that reflects the passing of the seasons through tangible natural phenomena.

Perhaps these two systems of temporality suggest a resistance to the easy narrative of rapid urban transformation that 24 City’s subject matter, and the story of modern China as a whole, too readily invites. Rather than a linear progressive trajectory from socialist factory to urban development complex, Maoism to state capitalism, collective to individual, industrial to neoliberal, these temporalities exist simultaneously within the urban landscape, interacting and circulating within each other. Rejecting synchronicity, the film demonstrates the urban topography’s harboring of not merely the diachronic, but the polychronic. Far from what the obvious metaphors of old buildings reduced to rubble would suggest, the “past” may be dispossessed, but it is never actually fully obliterated or demolished; rather, it lingers on concurrently with and within state capitalism’s aggressive futurism. It only seeks a poetic that recognizes it.

The film’s final interviewee is presented as an archetype of the modern state capitalist consumer: a young, fashionable personal shopper who plans to buy a glossy new apartment in 24 City. But this illustration of consumption is ultimately revealed to be an act of filial piety: she wants the apartment not for herself to live in, but for her mother, who was a worker at Factory 420 and will return to live at 24 City. What appeared to be a narrative of linear progression is really one of circular return, and as Factory 420 transforms into 24 City, 24 City cycles back.

Works Cited

24 City. Dir. Zhangke Jia. The Cinema Guild, 2008.

Deleuze, Gilles. Cinéma II. Paris: Editions de Minuit, 1985. Ouyang Jianghe. Doubled Shadows: selected poetry of Ouyang Jianghe. Trans. Austin Woerner. Brookline, Mass.: Zephyr Press; Hong Kong: Chinese University Press of Hong Kong, 2012.

Wan, Xia, ed. Hou meng long shi quan ji. 后朦胧诗全集. Chengdu: Sichuan jiao yu chu ban she, 1993.

 

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