Response for 9-28

1.What are the two dimensions of symbolic violence discussed by Teo in relation to the Election films?

Symbolic violence referring to violence containing symbols, according to law and ritual, and symbolic violence referring to violence of male domination are the two dimensions of symbolic violence discussed by Teo. The first refers to, for instance, the triads fighting over a baton, a phallic symbol, or another physical object with a symbolic meaning. The second refers to the triads as a patriarchal power which subjugates its members, men are ruled and controlled by other men in accordance to the laws of the gang.

2. While gangster/triad films are an internationally comprehended genre, why does Teo argue that the Election films present a distinct localized version of the genre? What are some of the parallels and contrasts between the fictional world of the Wo Sing Society and the politics and history of Hong Kong as a whole? Specifically, how have general elections worked in Hong Kong since the 1997 transition?

To’s films portray the triads in confrontation with each other and the police. In Election, the triads elect a new leader and violence erupts once more. In the 1997 transfer of power, many triads were uncertain of their future in a new unified Hong Kong – China. China doesn’t want democracy in Hong Kong, and the democracy inside the Wo Sing Society is a false one.

3. Why does Teo argue that Election 2 is the more political of the two films? In what way does it comment on socio-economic changes since the 1997 transition to Chinese rule? In what ways does Election 2 draw parallels and contrasts between the mainland Chinese government and the Wo Sing Society?

It directly shows the conflict between the Chinese government and the Hong Kong triads. It shows a democracy, of sorts, in a Communist leaning society. In addition the struggle of triad interests versus Chinese interests. A parallel, however, can be drawn between the triad elections and Hong Kong elections in that the triad leader is chosen by a closed cabal of high ranking individuals similar to how Hong Kong’s chief executive is chosen.

4. Here’s another attempt to tackle Walter Benjamin’s concept of mythical violence. Earlier in the book, Teo describes mythical violence as “a meta-critique—a form of violence that critiques the violence in our midst.” (p. 8). If this is the case, then what is the commentary in the Election films on the violence of the triads and modern urban environments?

It critiques the struggle of power and desire for stability with an unknown future.

5. What is the distinction between “yin” violence and “yang” violence, and how does Teo use this distinction to suggest why the Election films stray from genre conventions? How does this distinction help convey the political message of the film?

Yin violence is a “feminine” violence that is devious, clumsy, and confused. Yang violence is a “masculine” violence that is sober and clean. Election uses yin violence, men using a feminine approach to violent acts. The violence is messy. Swords are used as opposed to the traditional gun in action genre films.