Chapter 2 investigates the specific medium of performance video by looking
closely at three projects by the artist Patty Chang – Die Ware Liebe (2012),
Minor (2010), and Shangri La (2006). Through reflecting or engaging in the
subject of 1930s film, Chang reconceptualizes a unique interplay of
movie-video subjects, which is useful for examining the interplay of Chinese
identities. She evokes three different types of cinematic subjects,
consisting of: Die Ware Liebe’s miscegenation subject, which was often
portrayed by the famous Chinese-American actress Anna May Wong in 1920s and
1930s film; Shangri La’s focus on Frank Capra’s 1937 movie Lost Horizon,
based on James Hilton’s 1933 novel about a plane crash in the Himalayas and
the discovery of the ethno-fantastic place of immortality; and Minor, which
invokes the visual anthropology of Swedish explorer Sven Hedin whose trek to
Lop Nor in the present-day region of Xinjiang was captured in the 1928
documentary film With Sven Hedin Across the Deserts of Asia. While exploring
film interpellation, all three video expressions are also performance
documents as Chang captures her travels to different regions of China. She
contributes to the peripatetic tradition of artists who conceptualize and
perform across national borders.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.