From Kung Fu to Hip Hop: Globalization, Revolution, and Popular Culture

Notes

Introduction: On Popular Cultural Revolution 1. Alix Kates Shulman, “Dances with Feminists,” Women’s Review of Books 11. 3 (1991): 13. 2. Quoted in Shulman. 3. Shulman. 4. Shulman. 5. David Solnit, “The New Radicalism: Uprooting the System and Building a Better World,” in David Solnit, ed., Globalize Liberation: How to Uproot the System and Build a Better World (San Francisco: City Lights, 2004) xi–xxiv. 6. Solnit xiv. 7. C. L. R. James, American Civilization, ed. Anna Grimshaw and Keith Hart (Cambridge and Oxford: Blackwell, 1993) 36. 8. Luce Irigaray, This Sex Which Is Not One, trans. Catherine Porter (Ithaca: Cornell University Press, 1985) 158. 9. Ana Esther Ceceña et al., “Civil Society and the EZLN,” in Midnight Notes Collective, ed., Auroras of Zaptatistas: Local and Global Struggles of the Fourth World War (New York: Autonomedia, 2001) 40. 10. Frederic Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham: Duke University Press, 1991) 36. 11. Arif Dirlik systematically presents this perspective in order to delineate the power relationship that tends to be obscured by the discourse of globalization (e.g., postcoloniality). Arif Dirlik, “The End of Colonialism? The Colonial Modern in the Making of Global Modernity,” boundary 2 32.1 (2005): 1–31. 12. Kenneth Burke, The Philosophy of Literary Form: Studies in Symbolic Action (Baton Rouge: Louisiana University Press, 1967) 234. 13. Jimi Hendrix: The Dick Cavett Show, DVD, Experience Hendrix L.L.C., 2002. 14. Audre Lorde, Sister Outsider (New York: Crossing, 1984) 38. 209 Notes 15. Félix Guattari, “Ritornellos and Existential Affects,” Discourse: Theoretical Studies in Media and Culture 12.1 (1990): 66. 16. Guattari, “Ritornellos” 72. 17. Laura Joplin, Love, Janis (New York: Villard, 1992) 236. 18. Guattari, likewise, sees affect belonging to aesthetic and ethical paradigms as it pertains to the production of heterogeneous meaning in opposition to the general law of homogeneity in the realms of linguistics and discourse: “Affect is a process of existential appropriation though the continual creation of heterogeneous durations of being and, given this, we would certainly be advised to cease treating it under the aegis of scientific paradigms and to deliberately turn ourselves toward ethical and aesthetic paradigms.” Guattari, “Ritornellos” 67. 19. Frank Kofsky, “John Coltrane: An Interview from Black Nationalism and the Revolution in Music,” in Carl Woideck, ed., The John Coltrane Companion: Five Decades of Commentary (New York: Schirmer, 1998) 133. 20. John Coltrane, “Alabama,” rec. 8 October 1963, Coltrane Live At Birdland, GRP Records, 1997. 21. Félix Guattari, Molecular Revolution: Psychiatry and Politics, trans. Rosemary Sheed (Hammondsworth: Penguin, 1984) 167. 22. Peter Watrous, “John Coltrane: A Life Supreme,” in Carl Woideck 65. 23. Billie Holiday, “Strange Fruit,” rec. 30 April 1939, Strange Fruit, LP, Atlantic, 1972. 24. Michael Hardt and Antonio Negri, Multitude: War and Democracy in the Age of Empire (New York: Penguin, 2004) 110, 147. 25. In this sense, the popular cultural revolution finds its counterpart in Guattari ’s notion of “molecular revolution.” Guattari, Molecular Revolution 253–261. 26. As my preference for the international titles of Lee’s Hong Kong films suggest , I am using the original Golden Harvest versions with Mandarin subtitles in a video format as primary texts for analysis, since those dubbed versions released in the United States do no justice to the original scripts. 27. Quoted in Roy Armes, Third World Film Making and the West (Berkeley: University of California Press, 1987) 44. 28. Ngũgñ wa Thiong’O, Decolonizing the Mind: The Politics of Language in African Literature (London: James Currey, 1986). Chapter 1. Kung Fu Cultural Revolution and Japanese Imperialism 1. Bruce Lee: A Warrior’s Journey, dir. John Little, DVD, Warner Home Video, 2001. Notes to Chapter 1 210 2. Law Kar, “The American Connection in Early Hong Kong Cinema,” in Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity (London: Cambridge University Press, 2000) 64–65. 3. Law 64–65. 4. Bey Logan, Hong Kong Action Cinema (Woodstock: Overlook, 1996) 10. 5. I am following Stephen Teo’s distinction between swordplay (wuxia) and kung fu, which features the fistfight rather than sword fighting. While the former is a common property of Chinese cinema in general, the latter is considered to be a genre peculiar to Cantonese cinema. Stephen Teo, Hong Kong Cinema: The Extra Dimensions (London: The British Film Institute, 1997) 97–109. 6. Ian Scott, Political Change and the Crisis of Legitimacy...