17.01.2014 Views

Read this paper

Read this paper

Read this paper

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

egister is a voice “from nowhere in particular.” By contrast, “to talk<br />

from ‘somewhere’ is to be from ‘somewhere’; it is to belong” (Silverstein<br />

1999: 112–113). In the spectrum of potential social mobility, Xiao Ji and<br />

Bin Bin are cast between Qiao Qiao and Bin Bin’s girlfriend. The two male<br />

protagonists experience a type of limbo: they are stuck in a detestable<br />

birthplace, yet they resist the sense of belonging they could enjoy if they<br />

used the local language; they are teased by the promise of upward mobility<br />

that Putonghua affords, yet that language carries the taint of rootless,<br />

nonlocatable subjectivity. The unemployed and disenchanted teenagers<br />

drift between the erotic massage parlor, the pool hall, the disco, and the<br />

private KTV bar, never escaping from their stagnant hometown. In the end,<br />

after their abortive bank robbery, Xiao Ji flees on his motorcycle until it<br />

sputters and stops; Bin Bin, having been arrested, is ordered by a policeman<br />

to sing Richie Xianqi Ren’s pop song “Ren xiaoyao.” The talismanic<br />

significance of the movie theme song lyric “Yingxiong mo wen chushen<br />

tai danbo” (Don’t ask a hero how humble his origin is) resonates with the<br />

small-town teenagers. The futility of struggle and resistance conveyed in<br />

the film’s ending scenes recalls the mundane closing scene of Platform,<br />

where Cui Mingliang is found dozing on a lazy afternoon, while his wife<br />

and toddler play in front of a whistling kettle (fig. 14). The hometown,<br />

a humble and isolated backwater, is the site of the local youths’ hopeless<br />

rebellion—a place they want to escape but cannot.<br />

Intellectuals’ Representation of the Subaltern in Recent<br />

Underground Films in Local Languages<br />

Jia Zhangke’s documentary filmmaking style, featuring local languages,<br />

small-town settings, marginalized protagonists, nonprofessional actors,<br />

long takes, and digital video (DV) shooting, set an agenda for independent<br />

feature films in the new century. Recent movies in local languages deal<br />

unsparingly with sensitive and controversial topics in contemporary China,<br />

such as prostitution, unemployment, peasant migration, illegal mining,<br />

188 • The Rhetoric of Local Languages<br />

MCLC 18.2.indd 188<br />

12/20/06 2:01:39 PM

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!