Global Media and China

To not only celebrate the launch of this double special issue, but also to shine a spotlight on the variety of China as Method epistemological approaches shared by the special issue’s editors and authors, the Chinese University of Hong Kong’s Hong Kong Institute of Asia Pacific Studies, the University of Amsterdam’s Media Studies Department, and Global Media and China, co-organised a hybrid symposium to generate intellectual exchanges on such a de-westernising mode of knowledge production. While the research articles in this double special issue extensively examine ‘distinct’ characteristics of China, in this introduction, we reflect on if we are essentialising China. We do not want to apply a universalist logic that exists in theories by and from the Global North to be ‘experimented on’ in the Global South; yet, we also seek to move away from ‘China exceptionalism’ and express the stance that China can only be understood in its positionality to other areas (and modes of knowledge production) of the world. Thus, this special issue seeks to further deconstruct China as Method, challenge the existing power imbalance, and pluralise knowledge production.

Contrasting existing scholarship in ‘socialism with Chinese characteristics’, this article builds on the theorisation of infrastructural capitalism as an emerging global-capitalist project entangled with both China’s state-socialist ideology and the latest nationalistic revitalisation agenda, serving both political and commercial goals, yet also rendering discontent and resistance in daily business and employment practices. Through participant observation across 13 Alibaba departments or subsidiaries, semi-structured interviews with workers in Alibaba and other Chinese platform companies, and the analysis of corporate documentation and media reports, our ethnographic study highlights the ‘physical and digital (phygital)’ nature of infrastructure, and theorises how discursive, symbolic, and sensorial techniques are adopted to direct and sustain infrastructural capitalism in daily organisational setting through three unique mechanisms: public-private partnerships, corporate prosumption networks (CPN) and imagineered global competition. This article’s key contributions are threefold: to dissect the intertwined discursive, symbolic and affective mechanisms through which the ‘invisible’ infrastructures of capitalism are made ‘visible’ and ‘sensible’; unpack the variegated impacts and inherent dilemmas of infrastructural capitalism; and reimagine the possibility of individual resistance and systemic transgression.

Combining online and offline data collection during six months of ethnographic fieldwork in Southern Mozambique in early 2021, this paper explores how media and its everyday use in the Global South are impacting on, and are in turn being transformed by China. It specifically looks into the creative and personalised ways in which Chinese-made garments are sold and promoted in Mozambique via the messenger service WhatsApp. Examining how Mozambican and West African traders use WhatsApp groups and status updates to mediate the fashionability of these Chinese goods, this paper shows that the consequences of Chinese interactions with the Global South on the global media landscape transcend the mere spread of Chinese hardware and software. Going beyond dominant, state-centred narratives of Chinese influence abroad, this paper demonstrates the key role of individuals and their agency in shaping the digital impact of Global China. By doing so, it also highlights the importance of analysing media practices in their specific local contexts.

Based on ethnographic work performed in Chengdu, China, this article presents a decolonial analysis of Chinese Lolita dressing, criticising the unjustified accusations of catering to paedophilia and escapism. Lolita dressing is a clothing style originating from the Gothic clothing style of rebellious rock music singers in 1990s Japan. Some fashion studies and the mass media tend to place Lolita dressing in the context of a counter-public subculture narrative. However, such a framework is biased due to its Eurocentrism. Eurocentrism appears as origin-centrism in forming two unjustified accusations. The accusation of catering to paedophilia is formed based on its Euro-American etymological origin. The word ‘Lolita’ is inextricably associated with paedophilia in Western culture, which leads the general public, and mass media in particular, immediately to the discussion of Lolita dressing as being an abnormality. The accusation of escapism is based on its Japanese subcultural origin. Japanese Lolita dressing is an intentional refusal of the mainstream expectation of being an adult woman. This directs the discussion of Lolita dressing to youthful escapism from a disappointing reality. These two presumptions are problematic in Chinese Lolita dressing practices. Chinese Lolita dressing practitioners tend to integrate Lolita dresses into their ordinary life instead of using Lolita dresses as a medium to build an imagined identity. For Chinese Lolita dressing practitioners, Lolita dresses are neither abnormal nor counter-public. In short, Chinese Lolita dressing should be positioned as a fashionable clothing category among diverse clothing practices instead of as a subculture or an example of a counter-public rebellion.

Research on whiteness in Western cinema has effectively revealed how cinematic representation contributes to formulating, perpetuating, normalizing, and contesting white superiority in Western cultural discourses. However, little research considers how Chinese cinema imagines and negotiates whiteness. Using the visual-textual analysis method, this article examines the representations of white identities in Big Shot’s Funeral (2001, dir. Feng Xiaogang) and Crazy Alien (2019, dir. Ning Hao). These are two well-received post-socialist Chinese dark comedy films depicting encounters between Chinese people and Westerners in contemporary China. Approaching racial identity as a form of social positioning, I analyze how various meanings are ascribed to white identities in the films, and how these meanings articulate Chineseness and Chinese nationalist sentiments. I show that white superiority is simultaneously reinforced and contested in the two films. While doing so, I will also highlight Western cultural theories’ lack of analytical power in explaining how white superiority in cultural discourse transforms across different geographical locations.

In the Hong Kong Chief Executive’s 2020 Policy Address, the Hong Kong Special Administrative Region (HKSAR) Government implemented strategies to integrate arts and technology as a new trend in cultural development. With the co-existence of a governmental initiative in ‘arts and technology’ (‘arts tech’) development and the rapid advancement of new technologies, it is frequently seen that new technologies (e.g., virtual reality [VR] and augmented reality) have been widely adopted in interactive media art productions in Hong Kong. Drawing on ethnographic research on a commercial virtual event, and a VR theatre performance produced by a Hong Kong cross-media creative studio, this study unveils discrepancies existing between government officials, commercial marketers, and art creators, ranging from objectives to practices in applying technologies to virtual art production. The juxtaposition of a market-driven commercial virtual campaign and the Chinese nationalist agenda embodied in the government-funded arts tech project reflects how the socio-historical background and changing political situation in Hong Kong extends its postcolonial neoliberal nationalism (PNN) to the arts tech arena. The contribution of this paper is two-fold: first, by adopting ‘China as method’ as epistemological analysis, the mediation of PNN by arts tech explains a ‘southbound imaginary’ in Hong Kong’s arts and cultural practices through a changing relationship between Hong Kong and mainland China. Second, in contrast to the current scholarship focusing on human governance in the formation of neoliberal nationalism, this paper underscores the ‘power’ of techno-cultural material in mediating the neoliberal nationalism of Hong Kong, after its reversion to China, through arts tech development.

The recent advent of ChatGPT has stirred substantial attention and debates, potentially altering the dynamics across various industries, notably marketing. This pioneering study delves into the public reactions and applications of ChatGPT within marketing realms. Leveraging a text-mining methodology, a corpus of over 600,000 tweets harvested before and after ChatGPT’s launch from January 2021 to April 2023 was scrutinized to gauge public sentiment towards AI-incorporated tools in marketing, and to unearth the predominant themes within public discourse. Initial findings unveiled a buoyant public sentiment towards AI-facilitated tools, which however, ebbed in January 2023, driven by apprehensions regarding AI technology’s limitations and potential perils. Subsequent months witnessed a rebound in sentiment, stabilizing above the positive threshold, as Twitter users increasingly acknowledged ChatGPT’s prospective merits on employment and daily lives. However, compared to the period before the introduction of ChatGPT, there has been a decline in the general public’s sentiment towards AI in marketing. Furthermore, the analysis discerned a convergence in the core topics broached by the public concerning AI and ChatGPT’s ramifications on marketing. While the automation of mundane tasks and heightened customer experience were lauded, trepidations surrounding job displacement and the ethical quandaries of supplanting human labor with machines surfaced. This exposition recommends that enterprises meticulously assess the prospective impact of AI on their personnel, advocating for the judicious and ethical deployment of such emergent technologies.