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• W236564144 abstract "As TV news reports and newspaper business sections warn of North American companies threatened by Chinese buyouts and North American workers by the thousands made unemployed by the dumping of cheap Chinese products justified by Walmart's stance that it's only doing what the average American claims is their god-given right ... to buy commodities at the lowest price possible ... the second coming of the 'Yellow Peril' is being trumpeted, this time with China standing in for Japan. Jia Zhang-ke's recent film, The World (2004), should be mandatory viewing for all who believe that a booming economy solves/salves all social problems. On the surface, Jia depicts a (quasi-feudal) China that has been thrust into the modern world of international theme parks and cell phones, of electronic music and electronic animation. The thriving metropolis provides plenty of employment opportunities for peasant villagers who arrive desperate for work, but at what cost, asks Jia in this film. Construction projects rapaciously devour the old city, eliminating all traces of the traditional, replacing them with anonymous modernist style buildings that could be found anywhere. The World is set in an actual theme park in Beijing (called World Park), a tourist attraction for the Chinese themselves. Here is a place that promises a whirlwind tour (a full circuit in 15 minutes) of the famous sites and sights of the rest of the world without ever having to leave home. As one of the characters proudly says, pointing to replicas of the Twin Trade Towers in a scaled down version of lower Manhattan, Their's are gone, but we still have our's! Not only does the Chinese visitor experience the wonders of the world, both ancient and modern, in miniature, but the spectacular Las Vegas style stage shows that are presented daily offer further homogenization of world cultures by being themed into national (and historical) displays of costume. Young Chinese women dressed as ancient Egyptians, traditional Thais, Indians, Koreans etc. all perform the same style of contemporary 'pop' choreography accompanied by the same style of pop electronic music, with no attempt being given to matching costume with the music and dance traditions of the countries represented. [ILLUSTRATION OMITTED] Tao, the film's lead female character, is one of these performers. Our introduction to her (and to the film) is of her moving through a crowded corridor coming toward us dressed as a traditional Indian woman in sari and nose ring (eye glitter additional), calling out repetitively in a kind of grating voice for a band aid. Tao's life on the job is one of glamorous costume, elaborate makeup and a swirl of activity in fabulous settings from the 'Eiffel Tower' to the cockpit of a (grounded) jet plane and the brightly-lighted stage. Off the job, she dresses plainly in nondescript sweater and pants, little makeup and inhabits crumbling flats and tawdry rented spaces. Jia further heightens this stark contrast between the fantasy world of the theme park in its glistening modernity and the dull and painful reality of young people's daily lives in his shooting style, which alternates between fast-paced cross-cut spectacle and long shots with limited action and little camera movement of individuals trying to communicate with each other. Picking up on this static/dynamic opposition are two major motifs which are repeated throughout The World: passports and cellphones. What connects these two, of course, is the (potential) mobility they provide the holder. …" @default.
• W236564144 created "2016-06-24" @default.
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• W236564144 date "2005-06-22" @default.
• W236564144 modified "2023-09-24" @default.
• W236564144 title "Jia Zhang-Ke's the World" @default.
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