Alienation

Society of Comparative Literature, A.A.H.K.U.S.U., Session 2016-2017

newsletter

Alienation

vol.

2

� 離

對於世界

我永遠是個陌生人 我不懂它的語言 他不懂我的沉默 我們交換的

只是一點輕蔑

如同相逢在鏡子中 －－北島〈無題〉（節錄）

Introduction of the Society

Since its establishment in 1989, the Society has been committed to organizing educational and recreational events for students and staff at the University of Hong Kong. It has also devoted itself to raising awareness for issues in its related disciplines, such as cultural studies and textual analysis.

The Society primarily serves to promote Comparative Literature as an intellectually engaging and rewarding subject with interdisciplinary perspectives. Most ardently, we hope that you will enjoy our upcoming activities, reap valuable insights, and bring home unforgettable memories.

編者的話： 疏離－－如果化為影像來看，就似一堆本來親密無間，緊 湊在一起的粒子，慢慢開始疏落、崩解；本來應該緊扣的十指， 指間的縫隙慢慢放大，最後變成無可填補的深淵。

Seeman (1959) 曾就疏離提出「五無」－－無力感、無意義感、 無規範感、無適應感和無成就感。若套用這個框架至我們日常的經 歷，是不是就能夠完整闡述我們內心那無以名狀的疏離感？還是我 們還有更多想要申說的，尤其是人與人之間的無關聯感？ 出版這本刊物的原意，是希望大家坦誠面對自己內心的空隙， 不必為了迎合他人的渴望，便假裝大家現在都很熟悉很了解很友善 很親切很和諧。莊友準備的專欄、受訪者想法，還有來稿，均反映 出對主題的深思。願是次刊物能讓大家體認這種防不勝防的疏離感。

CONTENT

6 Words from Exco

13

20

In Retrospect

Features

34

49

Submissions

Members Update

Words from Exco 主席 陳柏融

Casey Tan, Chairperson

寫嘢垃圾，又唔識得表達自己，希望送比莊友嘅感激同 愛大家都收到。 謝謝大家承受了 / 成就了 casin 一個莊期，辛苦但係又唔捨 得一齊搞屎食屎執屎，唔想再 chur 但又想繼續同你 chur，有 時係擁抱有時係窒息，又會好嬲你地又會好寶寶你地又會好嬲自 己， 入 面 出 面 都 係 一 片 矛 盾 渾 沌 趕 deadline 推 board 還 沙 包 shameless 佛光 notebook 牛文學請 guest 糾結 proofread 等𨋢 一念酸辣米線章魚燒 louis 麗琪渡過。唔知自己噏乜 lmao，搵日 exco nightchat 一五一十講晒佢啦好嘛。

好羨慕莊友寫文好叻，有佢地做我莊友覺得自己好叻。

10.2017

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Words from Exco 外務副主席 石曉筠

Teresa Sek, External Vice Chairperson

I have never imagined that my first year of university life would pass that swiftly, so were the days of me being part of the Executive Committee of Society of Comparative Literature. From where I saw all of this as a torture, to now I am unenthusiastic to end my term, I believe this change in my attitude comes from the jongyaus I have with me.

Seeing my jongyaus growing and reflecting on changes as well as improvements they have made from the term, I am grateful that I could accompany them throughout this transformation.

Despite having setbacks, we would still have others’ backs - in a sense that we would actually assist and give advice to each other.

Most importantly, we, from 7 strangers, have become a bunch of Chicka Shameless Chicka Awkward Chicka Boom. We all become mean in nature, but we only show it among ourselves.

In order to shift your focus from my low-quality writing to the high-quality ones awaiting you, I will just end with a photo of my dearest jongyaus <3

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Words from Exco 常務秘書 鄧藹忻

Keira Tang, General Secretary

第一次見莊友，她就跟我談王家衛的電影，我接不上，瞬間 想逃，不過最後還是沒有跑到。一年後，有很多嘢我還是接不上， 不過能聽懂的多了一點點，好像已經叻了很多。 大學第一年過去，本科所習難以與生活扣連，我覺得自己沒 有叻到，但上莊擴大了一切。莊友們興起就常念叨的作家詞人樂 隊影人、 在 facebook 頻頻洗版的活動歌曲 page（和 meme）， 在我，都是新鮮而快樂的事物。於是，文藝電影看了七部；講電 影的 lecture sit 過三堂；說性別的展覽溜進去一次；莊友喜歡的 作家讀了半本；以前覺得嘈吵的音樂聽進去好多好多首。於是我 發現，相比起這些可愛的我願繼續認識的東西，我所擁有的一切 知識，簡直可以忽略不計。便得到了一扇敞開的門。 落莊文寫得好自我中心，因為我這顆小薯所給予莊的（想了 半天，只想到無恥地要大家寶寶我和讚我靚的工夫），和莊所 贈我的一切相比，實在微不足道。人們總說上莊有多麼辛苦， 我卻總記起和阿 Jo 一起飲酒的各張餐桌、 在 centen 昏暗燈光 下聽著音樂吃蘋果的 bazaar、 在風球前夕擁在牀上共同沮喪的 ocamp，還有去看展覽時，巧遇到的 soc 眷突然對我說：「我很 喜歡你寫的上莊文喔」的時刻。那時我心頭發熱，只懂癡笑，彷 彿回到中四時在狹室中清亮的文學堂。

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Words from Exco 財務秘書 姚獅彥

Elysia Yiu, Financial Secretary

Liquor The same old night sprawling on the sofa Sipping the forbidden liquor Watching the finale of the same old show.

Just to feel the churn Just to feel like a grown-up who fantasizes a flush of concern.

Gulping a brew of memories at the best or the worst hours Reminiscing an amalgam of flavors Deluging in my taste buds.

Stinging and wringing Strumming my palate with a few thuds.

Coldness is like traipsing along the piercing pavement scenting your skipped supper.

Bitterness is like coming to know your foibles have turned into unchangeable realities.

Sweetness is like carving up the chips with your fellow porters in the starved afternoon.

Feeling the last bits of my get-up-and-go times Before they have got up and gone.

The sudden beam from the telly catches my eyes.

As the protagonist hits the road again along the fjord blanketed by the balmy blue Embarking upon another journey to the unknowns I raise my final bottle To a torment or a solace that I could hardly define.

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Words from Exco 學術秘書 馮政瑾

Anney Fung, Academic Secretary

你們的樣子都好認真，低垂的眼，緊繃的唇，輕蹙的眉，劈 哩啪啦的手指──也許，是因為還不知道之後還有多長、多碎， 想要的不想要的都不由分說，便將一切當做玉律金科。我們聲音 呆板，你們鍵盤聲靈動。去年坐在這個位置的自己是甚麼樣── 也已無從知曉。 頭髮短了，電腦慢了，去年聽來的事，變成了似乎經歷過的 事。那時需要懂得的事，過去後才遲鈍地、慢慢地、蒙昧地、漸 漸地，明白過來。是不是太遲？一個限期臨近，有時便忘了：限 期之後，還有日子；日子，要切開來裝進一個個盒子的，但盒子 是那麼不牢固，盛不起陽光與陰影，空調與冷汗，笑鬧與顫慄， 侷促與不甘。灑了一地，曖昧混亂的顏色，待到生活有力量去提 煉。 今朝發咗個夢。你話我話上莊係竹籃打水，但一個篩配一個 籮，無限接近時就得到填滿嘅感覺。（噏乜勁呀。）醒來的我打 倒夢中的我，講咩都好，又真係唔覺係竹籃打水。 ──撿拾不起的，是否就是無用功？用功？填滿？一場空？ 隨意出口的話中充滿概念轉化──若要細思，總是惶惶。 只盼別忘了要溫柔。

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Words from Exco 出版秘書 明媚天

Mimi Ming, Publication Secretary

十一月近了。時間昂首闊步，邁向當初上莊時的原點。同是 AGM 這場合， 桌上置滿一個個名牌；只是當初佔據房間一邊的我們，如今將盤倨於另一邊。 很多人說，上莊是一趟旅程，過程不保證美滿，也不保證能到達某個明確 的目的地。更多時候，旅程都把我們帶回原點。旋轉木馬轉了十二個月，沿途 播好多我們自訂的歌曲──不少周耀輝，偶爾 My Little Airport，還有讓全場迷 幻的火炭麗琪──我們自 high 自 chur 式地旋轉，最後木馬還是在原地卸下了 我們。 我彷彿聽見上莊時的自己輕謂一句：「噢，你也在這裏嗎？」；如今落莊， 大抵亦是輕嘆如此：「噢，完了嗎。」 一路走來，自己活像挑夫──去程時挑起不少擔子，回程時一路放下。肩 上愈是輕鬆，感覺便愈悵然若失，好像身體某部份已經剝離。到底人的身份從何 而來？上莊告訴我，"these are all social constructs"。準備比較文學節時，所讀 的理論告訴我：「我們只是不同凝視的拼貼。」上莊期間，AGM 熬夜時迎接上 莊的目光，bazaar 時瘋狂惹來奇人異士 R 吹，迎新時面對新鮮人時 shameless 的自 pub ──種種跟別人的交流，成為了定義我這個「上莊的人」的標籤。 尷尬的是，當初曾如此強烈定義我的標籤，落莊之際卻會慢慢剝落。大學 接下來四年的經歷，住 hall 去交流找 intern，又是另一波的貼標籤；我們又會 在另一波的奔波中，隱沒「上過莊」的印記。 甚麼是疏離？我覺得是個陌生化的過程，又或是身份的失落。隨著落莊的 日子漸漸步近，上莊期間多彩的片段也會慢慢蒙塵，最後成為生命中偶爾翻看 的照片。一六一七出版秘書這身份，亦只會變成後人翻看昔日期刊時讀到的一 條資訊。所幸的是，疏離並不是毫無關係的狀態。只要上過莊，身體就仍留有 上莊的因子，哪怕只殘餘很少很少。 我想，未來一年我大概會每逢大時大節，很 creep 地幫自己下莊推推 dp， 然後開完 sem 飯來跟阿 Jo 喝喝啤酒，設法讓自己跟比較文學學會藕斷絲連的。 嗯。

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Words from Exco 宣傳秘書 廖翊名

Angela Liu, Publicity Secretary

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In Retrospect

/ // ///

Comparative Literature Festival Orientation Series Welfare Week

In Retrospect

Comparative Literature Festival

Comparative Literature Festival is the annual academic event organized by the Society. The theme this year was “Gaze”. In three weeks’ time, we aimed to explore the limitations and possibilities bounded by gaze in the form of photography, film and popular music and arouse participants’ awareness to gaze.

Opening Ceremony

The Opening Ceremony of Comparative Literature Festival 2017 was successfully held on 20 th March, 2017 in the Global Lounge. We were honored to have Professor Gina Marchetti to be our guest speaker and give a wonderful presentation on the concept of Gaze - which was our theme for the Festival this year.

Other than that, we would like to send our gratitude to Professor Timothy O’Leary and other teaching and administrative staff from the Department of Comparative Literature for joining the event with us.

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In Retrospect

Exhibition : Media and Gaze

Why do we see what we see? Aren't photos essentially just pixels, turned into symbols by us human attaching meanings to them? Can photographs ever be impartial, random, shot without selection and subjectivity? As the public shares creatorship in the age of Internet, have we subconsciously censored, framed, and crafted our avatars in the way we frame, select, and edit photographs to create facades of ourselves? Photography, as a method of gazing and an instrument to be gazed, is often manipulated and easily romanticized. Delve into our discussion as we interviewed renowned photographer Martin Cheung about viewership, capturing, and publishing of photographs.

Film Show : Wrestling of Power in Gaze

Film has always been a focus in Comparative Literature as it combines different art forms and explores the fickleness of humanity.

This year, we screened an independent science fiction psychological thriller film, Ex Machina . We had the honour to have Mr. Siufung Law from the Department of Comparative Literature to discuss the film with us. Various topics under gaze, including gender, power relations, were discussed after the screening and had enhanced participantsâ&#x20AC;&#x2122; understanding towards the film.

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In Retrospect

Film Review Contest : Gaze

The Film Review Contest was an event co-organized with Cinezen. It was held online and opened for submission throughout the Comparative Literature Festival. We were honoured to have invited local film critic Longtin, Mr. Enoch Tam, founder of Cinezen, and Mr. Charlie Lam, editor of Cinezen to be the judges of the contest.

The contest called for submission of film reviews on the theme of "Gaze", which was our theme of Comparative Literature Festival this year. We received submissions from students of various local tertiary institutes. Winners were awarded with cash prizes sponsored by Cinezen.

Panel Talk : Hong Kong under Various Sights

To gaze or not to gaze; that is not the question. Living in a world with permeating sights of all kinds, we inescapably fall into the subject-object transposition and display a plethora of miens. Dr. Wong Chi Chung and Dr. Louis Ho extended the topic to a broader context. Dr. Wong commenced the discussion by an entrancing show-and-tell about his collaboration with world-class musicians like David Bowie and Ryuichi Sakamoto.

Dr. Louis Ho continued with a compelling contemplation on the social milieu portrayed through the eyes of local creators. The discussion led by the magnificent duo was wrapped up with a stimulating Q&A session moderated by Dr. Jason Ho.

Over the past few years, our city was filled with woes over its fading glitz. Albeit failing to fathom a resolution to the challenges ahead, the talk reminded us to continue the wander for possibilities with the elevated awareness of gaze.

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In Retrospect

Orientation Series

For the Orientation Series this year, we had Enquiry Counter, Orientation Camp and Tea Gathering. It was our pleasure to introduce Comparative Literature to freshmen so as to clear their doubts regarding this intricate subject and spark their interests. We also displayed the uniqueness of our Society with our welcoming and loving accommodation.

Enquiry Counter

Promptly after the release of this yearâ&#x20AC;&#x2122;s JUPAS results, the annual Registration Days were held on 10 th and 11 th August.

Meeting different freshmen with interest and questions about Comparative Literature in our cozy room was a great experience as we got to share our experiences and thoughts after a year of study. We hope every visitor had enjoyed themselves in our complit banquet.

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In Retrospect

Orientation Camp

Our Orientation Camp was held from 21st to 23rd August, with the theme of “The Minds We Carry”.

Kicking off the camp was an array of ice-breaking games that warmed up the atmosphere. The warming up continued well into the afternoon, as blobs of pink and white scavenged around the campus and across Hong Kong, fervently completing game tasks for Campus Orientation and Hong Kong Orientation. Spirits were high during Campfire, as we danced with the disco ball to canto-pop hits. Everybody also appreciated the chill and vibey music during the break.

The second day started off with an intellectually stimulating series of mass games, such as fighting for the quickest to answer trivia questions on film, literature, and HKU in general. Afterwards, freshmen were challenged to an exhilarating round of Running Man x Water Fight, as they chased each other around the campsite for name labels, armed with water guns and balloons. Following the physical challenge was a light-hearted series of mass games, checkpoint games, as well as society game. Detective game also provided an opportunity for freshmen to explore different texts.

For the last day, we had “turtleback writing” session, where everyone shared their heart-warming thoughts about each other.

Regardless of the battering weather, it was a three-day-and-two-nights well-spent.

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In Retrospect

Tea Gathering

This year, despite the threat of rainstorm, we were lucky to have our Tea Gathering themed “Soaring against the Light”. Divided into three groups, freshmen had the chance to enjoy ice-breaking games and mass games, which provided them opportunities to know their future course mates. The two new cheers, "Peanut butter in a cup" and "Boom Chicka Boom", definitely spiced the gathering up before the freshmen started walking around the campus for theme game.

We were honoured to have Dr. Jason Ho, Dr. Jason Coe and Mr. Siufung Law to address the concerns raised by freshmen during the sharing session. Their sharing had unclouded worries and confusion that freshmen had on course selection and university life. We would like to express our heartfelt gratitude to the Department for their continuous support to the Society.

Welfare Week

For the Welfare Week this year, we had “Sneak a Break” as our theme as we aimed to provide leisure for our members with the sponsorship offers we provided - such as discounts for group game activities. More than that, we were pleased to have a cafe to sponsor us handmade coffee, cold-brew coffee and strawberry tea for all of our members so that they could enjoy a cup of fineness during their breaks in lectures. We also attracted a lot of new members.

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Features / 人物筆訪 //

Film Recommendation

/// Lyrics List //// Art Gallery ///// Quotes

人 物 筆 訪 馮敬恩 前文學院院友 中文系畢業 算叫做識字 做過下學生會會長

1. 可以用兩至三句話形容疏離對你來說是甚麼嗎？ 答：疏離是一種關係，是親密的反面，卻又不是毫無關係的曖昧狀態。 2. 有試過跟群眾之間產生疏離感嗎？ 答：曾經在文學院學生會以及港大學生會服務，其中一個難題就是如何凝聚 會員。如果將會員當作群眾，當然是有疏離的感覺。 3. 如有，你是如何應對？ 答：那就給他們一千種誘因來找你，或者是你去接觸他們，或者是 Both。 學生組織的存在目的，就是服務同學，凝聚會員。舉辦不同方面的活動，以 及嘗試去親自接觸同學，是一個應對會員間以及代議士與群眾間疏離的方 法。 4. 知道你修讀文學，你覺得它如何塑造了你對疏離的看法？ 答：文字是死的，作者是生的。每次閱讀文本，總是覺得自己與作者有了一 種關係，分享著對方的想法。然而，我知道，這只是我單方面的聯想與窺探。 所以啊，每次念完書，總是覺得與作者建立了一種疏離的關係。

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有病童話 蔡妙雪。現於《AM730》編繪圖文專欄《有病童話》

1. 可以用兩至三句話形容疏離對你來說是甚麼嗎？ 答：發現跟原本想親近的對象有隔閡或分歧，為免彼此折磨而迴避或疏遠 對方，保持距離。 2. 你認為自己的作品有多大程度反映出疏離感？ 答：我的《有病童話》系列想反映的是這個世界的病態現狀，而人與人之 間的關係越發疏離可算是其一。這系列作品曾探討過親子間互不理解、跟 友儕無法融洽相處、人們在城市中找不到歸屬感等，都是一些「疏離」的 體驗。 3. 你認為疏離是一種病嗎？如果是，你認為感到疏離是個別心理問題，還 是與大眾有關的社會問題？ 答：我覺得個別的「疏離」關係不算是病，或許只是投緣與否、是否合得 來的結果。但大量或集體的「疏離」則是一種病態，通常是社會變遷帶來 的後果，導致許多人因為跟不上或步伐不一致，甚或對這種轉變產生抗拒， 而無法跟周遭締造出一種和諧的關係，只好孤立自己。 4. 對你而言，疏離感是如何造成的？ 答：為免進一步被傷害，把自己從問題源頭隔離開來。 5. 你認為疏離感當前，最好的應對方法是甚麼？ 答：專心做好自己，變強。

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青木原 / 失眠詩（何青） 何青：希望能寫些甚麼，但總是呆滯無語。對生命支吾以對，只好假裝一個詩人。

1. 可以用兩至三句話形容疏離對你來說是甚麼嗎？ 答：無法感受自身以及自身身處世界之中，無論在哪一個角落，走到哪裏 都是異鄉。 2. 曾經有甚麼經歷，讓你感受到強烈的抽離感嗎？ 答：在某一刻鐘發現和某人的緣份已經終結。看著從前的友人、親人、愛 人，陌生感突然襲來的一刻。 3. 你認為自己哪首詩作有最強烈的疏離感？ 答：

〈相遇〉 青木原

〈堅強〉 青木原

命中總有些相遇 只在我們沮喪低頭時 才能看得見彼此 當你抬頭找回天空 便如最初一樣 繼續各自孤獨地出發

在爭相踐踏的世界裏 要得到多大的力量 才能相信 我不是一無所有 我不是一文不值 才能讓自己以為 生活 不是悲劇

4. 你認為疏離感的源頭是甚麼？

答：因為一切都有終結。當意識到終結的可能，我們已經疏離。

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周耀輝 詞人，作家，浸大人文及創作系副教授

1. 你對疏離的理解是甚麼？ 答：疏離？本來應該有關係的，為著種種原因，冷了，淡了，甚至沒有了。 疏離，對我來說，可好可壞。做工人的，假如已經機械式的在做自己的工 作，最好少一點疏離吧。做情人的，假如非常沉迷自己的感情，啊，大概 我會勸他／她疏離一點。 2. 你認為自己哪一句歌詞，最能表達疏離的感覺？ 答：我不太會選擇，最好不用選擇所謂「最」的。我就借我最新發表的一 首詞當中的幾句，是王詩安的《一步成詩》： 「走在大城市 過著小日子 只怕越來越只有事 沒有情」 3. 評論者形容你的歌詞時一般會以「另類」、「非主流」等字眼去形容。 你認為「另類」、「非主流」是構成疏離的必然因素嗎？ 答：我創作的時候，沒有特別想做「另類」或者「非主流」。我想做的， 是希望新，希望不同，希望我的文字能夠讓讀者有不同的方法去感受已經 熟悉的一切。刮目相看吧。也許這樣的去熟悉化，就會成就一種疏離，而 人，比較喜歡熟悉，因此不同的文字往往成了「另類」「非主流」。 4. 「疏離」這字眼一般含有負面意味，但你在不少訪談中均不介意坦承自 己的疏離感。你認為疏離感有可能轉化成正面影響嗎？ 答：我比較多用來描述自己的是「若即若離」，不想太近太沉迷，但也不 想太遠甚至完全離開，割裂，超然。我覺得周旋在遠近之間，做人可以暖 和並且明淨一些。

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FILM RECOMMENDATION Text / Casey Tan

Taxi Driver (Dir. Martin Scorsese, 1976)

Taxi Driver is a psychological thriller released in 1976. The film follows Travis, a war veteran returned from Vietnam, who attempts to adapt to urban life in Manhattan, New York. Contrary to his endeavour, Travis fails to adapt to city life due to his despise towards the filthy and obscene city. This eventually results to Travis’ self-induced alienation of himself from the society, while the society reciprocates.

As a taxi driver, Travis constantly perceives the city inside his vehicle. There is a physical segregation between Travis, inside the taxi, and the outside world. This symbolises Travis’ disassociation from the society, criticising as if he is a spectator outside of it, while correspondingly, nobody on the streets seems to pay attention to Travis.

They are indifferent to, if not disturbed by, Travis’ presence.

The camera panning away from the crime scene to the streets

As far as the alienation between characters goes, the alienation of Travis by the audience is also a prominent sensation present in Taxi Driver . The use of cinematography in the film manipulates the audience and propels their emotional withdrawal from Travis. In 25

the end, after Travis brutally kills a sum of people, the camera zooms out from the ground of corpses in an aerial shot, then gradually pans away from the room to the arrival of the police at the street. There is a construction of both visual and psychological distance of the audience from Travis. Instead of perceiving the scene in the eyes of Travis as the killer, Scorsese lets the audience look down on Travis from above in the position of a spectator. This prevents the audienceâ&#x20AC;&#x2122;s association with Travis and discourages their attempt to empathize with him. Alienation towards Travis is evoked among the audience.

I might have spoiled the ending for you, but Taxi Driver is still a classic that you should go watch and experience that sense of stylized, poignant alienation in the film.

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LYRICS LIST Text / Angela Liu and Mimi Ming

01 | I’m Not Human At All - Sleep Party People It's not your fault It's my own fault I'm not human at all I have no heart It’s a post-rock, shoegaze piece that has melancholy written all over. I think it’s about the inability to feel, be it due to numbness, despondency, or other reasons, that the persona feels distant and disconnected from feeling and understanding human emotions.

Likewise, he’s living in a world that contains only his own mind and is unreachable by everyone else. (You don’t understand them and they don’t understand you)

02 | How To Disappear Completely - Radiohead In a little while I'll be gone The moment's already passed Yeah it's gone And I'm not here This isn't happening I'm not here I'm not here “I’m not here” is a line that repetitively appears in the song, and it is also a commonly shared symptom of alienation.

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麥記的最後一夜 - My Little Airport

| 03

就到家的我即轉身回頭 寒夜跟你到麥記 朱古力當是酒 我若全力追究 你也會來去自由 那種金牛座特性你全沒有 麥記的最後一夜 白燈、廣東歌與露宿者 想起廟街某夜 相士說你屬於那些 「矛盾波動的千里馬」般狂野 是疏離之前的不捨，還有因而努力的回憶和記憶。歌詞裡都是一幅 幅畫面，很有電影感。好啦其實歌曲中關於疏離不那麼直白但樓主 私心。

獨身的理由 - My Little Airport

| 04

我會在 IG 看你一生的轉變 在 IG 等你 BB 的出現 星期天見你遛狗到山邊 晚上與你姊妹的合照片 偶爾也會見到他露面 與你遊歷的異國景點 時光飛逝 如幻似煙 何時先可以停止懷緬？ 與昔日相戀 / 相識 / 相知之間的這麼近那麼遠，比 ig 得朦朧呢。

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filters 還要來

05 | Yr not far - DIIV On yr own/Yr not far Considering the context in which frontman / singer Zachary Cole Smith wrote his album, the pieces are more than likely to be hinting to drug usage and recovery culture. The 6-word lyrics, having to loop over a 3 minute tune, embodies an ongoing struggle, a voice telling the party involved - he’s on his own battling addiction, because it’s only his mental strength that has control over his narcotics and alcohol dependencies. This sense of solitude lingers but is uplifted by a hint of positivity, because he’s “not far” with every step of the way to recovery.

For context please check : https://genius.com/8495037

06 | Heaven's Door - YoungQueenz 被拉近 嘅距離交錯生死 浮光掠影 未知生 焉知死 但存在感已歸塵 死亡係分泌 so i never cry 城市嘅抑鬱滋生蔓藤 勒斃夢 活埋關係

The suicide, it’s a suicide

疏離跟抑鬱在都市生活中猶如雙生兒－－愈是抑鬱，愈是疏離；愈 是疏離，愈是抑鬱。

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Mad World - Tears for Fears

| 07

All around me are familiar faces Worn out places, worn out faces Bright and early for their daily races Going nowhere, going nowhere The concept of “familiar faces” is juxtaposed with the sense of “going nowhere”. While familiarity usually connotes a sense of belonging, the narrator is deprived of such privilege by seeing worn out people engaging in routine races that lead them nowhere. The lack of purpose in people’s routine life stresses the alienation entrenched.

Space Oddity –David Bowie

| 08

Here am I floating 'round my tin can Far above the moon Planet Earth is blue And there's nothing I can do The song is about Major Tom’s mission in the space, and this verse is stating that he has lost contact with the Ground Control, and his no-return to the Earth is predestined. He is therefore alienated: separated from where he belongs to and such detachment is forever.

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09 | Comfortably numb - Pink Floyd When I was a child I had a fever My hands felt just like two balloons Now I've got that feeling once again I can't explain You would not understand This is not how I am I have become comfortably numb When connection between people refers to the capability to understand each other reciprocally, alienation is indicated by the lack of ability to comprehend each otherâ&#x20AC;&#x2122;s situation. The narrator is alienated by his failure to explain how it feels like to be comfortably numb.

10 | Schism - Tool I know the pieces fit cause I watched them fall away Mildewed and smoldering, fundamental differing Pure intention juxtaposed will set two lovers souls in motion Disintegrating as it goes testing our communication The light that fueled our fire then has burned a hole between us so We cannot seem to reach an end crippling our communication Communication broke down. Lovers set in disintegrating motion. A hole left between lovers. In love relationship, the opposite side of complementing each other is alienation.

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ARTS GALLERY Metropolitan Museum of Art, New York City (1960) Dave Heath

Automat (1927) Edward Hopper

Sunlight in a cafeteria (1958) Edward Hopper

The lovers II (1928) Rene Margritte

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Q U O T E S 樓下一個男人病得要死，那間壁的一家唱著留聲機；對面是弄孩子。樓 上有兩人狂笑；還有打牌聲。河中的船上有女人哭著她死去的母親。人 類的悲歡並不相通，我只覺得他們吵鬧。 ——〈小雜感〉，魯迅《而已集》 這座城市如此嚴密、叫人發瘋同時應允自由，它三面環海但四處是牆， 沒人能嗅覺海風⋯⋯ ——李智良《房間》 你， 一會看我， 一會看雲。 我覺得， 你看我時很遠， 你看雲時很近。

——顧城〈遠和近〉

I look and I look...

I must have come to the wrong planet.

It's so strange here.

-Sigbjørn Obstfelder, I look I feel sorry for anyone who is in a place where he feels strange and stupid.

-Lois Lowry, The Giver Trees're always a relief, after people.

- David Mitchell, Black Swan Green 33

Submissions

/ Creative Works // Gaze Film Review Contest: winning entries

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《提起疏離，我想說的是距離的政治 》 文／馮敬恩

提到疏離，令我立即想起的詞語是距離。就是有了距離，人、 物或想法才會疏離。提到了距離，讓我想起地域的距離，陳之藩在 《失根的蘭花》這樣寫到： 「我所謂的到處可以為家，是因為蠶未離開那片桑葉，等到離 開國土一步，即到處均不可以為家了。」 失根的蘭花，是陳之藩自己。人越不在本家，就越對本家有思 念。這種現象，叫離散（Diaspora）。最為人熟悉的，應該就是 離散的以色列人即便分散各地，但是當以色列打贏六日戰爭，重新 立國後，以色列人紛紛回國的例子。 這種離散不單單是一種現象，更加是一種政治。昔日中國人逃 逸到香港，對中國失去信心，然而卻在古裝電影中投射出一種美好 中國的景象，例如俠客一類的題材。這類題材的電影，承載著逃逸 到港的中國人對於本家的期望和幻想。簡言之，越不在本國，就越 有幻想，越有幻想，就越愛國。 當然，作為 DSE 出身的我們，對 於曾敏之的《橋》相信也絕對不陌生──幻想歸幻想，當重新回到 本國，往往是中伏居多。 港大教授史書美在《反離散》一書中指出「中國政府有效且持

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續地散播『海外華僑』此一具意識型態的身分認同，利用他們在異地遭 受種族歧視以及其他形式的歧視，將這些歧視轉化成有利中國的遙距殖 民主義，讓海外華僑們能永遠效忠中國……中國亦視海外華僑為必須 效忠母國的屬臣。」這種距離的政治，其實是可以被人為的方式操作， 一方面強調中國百年羞辱（a century of humiliation），另一方面 組織海外僑胞，自成一夥，越發令你越不在本國就越愛國，國家令你的 離開是為了再回來。 然而，距離是可以越走越遠，疏離到盡頭就是無關係。王德威教授 在其論文《根的政治 勢的詩學》裡面引述了一句「遺民不世襲」。說 明這種離散在外的人，最終也是會有機會本地化（Localize），成為 移居地的本地人。昔日不少中國人經由香港移民到新加坡等國家，歷經 數代，雖仍操國語，仍寫中文，卻自成南洋文化圈，於中國中心切割。 所以說，疏離這種曖昧的關係，也是一種政治。皆因距離製造美 感，美感製造幻想。FF 少陣啦，香港人。

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《地下鐵》 詩／何旭培

北角站早上 月台之間的小隧道陳列著各式各樣的步姿 運氣好時，可以看見賽馬 快轉。試圖跳過似曾相識的片頭 她按鍵撥號，卻讓視線接通 我們有三秒鐘時間談一場都市式戀愛 那是兩顆行星之間最尷尬的對望 兩道孤線互相靠近。遠離 想要說些什麼 怕開口打個響亮的招呼，就會點起千億顆星 眼晴在這乾燥的空氣 不經意擦出幾點 “Nice to meet you” 北角站早上 人潮忖度自己的步伐，節奏起落 腳步聲，加密記錄了一段鮮橙色的沉默 在月台之間穿梭 幕門另一面棲息的軌道 又暗地裏打量著湧動的日常

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Untitled / Photographed by Alisa Chau

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By Julian Pallinger Nur Worte

Words

nur Worte, ein Missverständnis nur Worte, ein Streit Worte Schweigen Wortlose Stille

only words, a misunderstanding, only words, an argument words silenced wordless silence

Beieinander

Together

Deine Stille macht mir Angst, WORT, MACHT, ANGST. Wo warst du?

Nirgendwo. Du? Nirgendwo nebeneinander beieinander bleiben

Your silence scares me, WORDS, POWER, ANGST Where were you?

Nowhere. You? Nowhere coexist together

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Green peas

By Janet Cheng I used to often go to the supermarket with my mum To buy some frozen green peas as vegetables For Breakfast, Lunch And maybe Dinner Round and wrinkled green peas Always clumped together on the plate, Holding on to each other, waiting For me to scoop them up With my metal spoon Mechanically Right into my little mouth

What if I were a pea amongst peas?

Rather than a single pea Amongst corns, carrots Diced mushrooms, Beef, Drops of petrol oil, Dust, shreds of paper flying in the streets?

What if I were a pea amongst peas, Always with other peas, Waiting to be scooped up Together?

Perhaps I would find a friend that understood me, Always sweet and slightly bitter, with Completely We would share the same jokes Slimy, tangy gravy on top Support each other And are still sweet and slightly bitter When times are hard And not abandon each other to do In cafeterias, restaurants whatever we may have desired Hotels, Or when I boil them in Hot steaming water

Or perhaps, we would simply neglect each other No longer speak, smile or gesture As we think we know who the other person is: A pea like ourselves?

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Gaze Film Review Contest: Winning Entry for English Submissions

On Invisible Cybernetic Killing Machines and Facebook Stalkers A review of Ghost in the Shell (1995)

by Quentin (The University of Hong Kong)

Hollywood’s live-action adaptation of the animated film Ghost in the Shell (1995) has courted controversy since its announcement. In addition to its alleged whitewashing of the franchise with its casting of Scarlett Johansson as the main character Motoko (a name so conspicuously Japanese her character is simply referred to now as “Major”), Hollywood has also been accused of ignoring the original production’s thematic concerns. Despite the trailer containing many of the 1995 film’s most iconic shots, the images are stripped of their philosophical content, making all the difference between a classic and a generic action flick.

In this light, it is perhaps worth revisiting this anime classic and explore the philosophical depth that longstanding fans of the franchise so treasure. The original production of Ghost in the Shell deals with the various implications of rapid technological advances. Particularly interesting in our study is its use of “gaze” to represent the functioning of power in a technologically-mediated world.

We follow the story of the cyborg Motoko, whose enhanced skin allows her to turn invisible. She uses this power to deadly effect during the film’s first action sequence, jumping

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off a skyscraper in a mission to assassinate a foreign diplomat.

As the diplomat’s head explodes into a cloud of red mist, the surrounding bodyguards and police officers fire blindly outside the windows, in a fruitless attempt to apprehend a foe that they cannot see. Meanwhile, having completed her mission, Motoko breaks into a half-smile, her silhouette fading into the urban background.

Motoko’s invisibility gives her power over her opponents - a recurring theme throughout the film. Motoko is framed as an active gazer since she is able to utilise her stealth to assess any tactical situation for as long as she wishes. Her prey, on the other hand, must be on constant guard, assuming a passive role yet fully aware that Motoko might be watching from the shadows1. Interestingly, this relationship is not unlike that of active social media users and the stalkers they invariably attract.

The former maintains a curated version of their own lives online for everyone else to see. This “everyone else” includes the stalker, who browses to his heart’s content, safe in the anonymity provided by the Internet.

However, as with all power relations, there is a catch: while the stalker is able to exercise his “looking power” with impunity he always does so under the terms dictated by the social media platform he uses. Every search, click and keystroke are duly logged by the system servers the same way he scrutinises every photo, video clip or status update of his acquaintances. By engaging in social media the stalker subjects himself to a greater, more omniscient gaze than he himself could ever hope to be. Likewise, if Motoko’s cybernetically augmented 1 Motoko’s enemies have internalised her gaze, and must constantly regulate their actions accordingly. For a more technical discussion, refer to Michel Foucault, “Panopticism,” in The Foucault Reader, ed. Paul Rabinow (1979), 206-13.

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body gives her greater power it also gives her new weaknesses. As Motoko’s camouflage capabilities are built directly into her skin, whenever she uses it to conceal herself, she must first undress, in another sense exposing herself2. The gazer almost always plays the double role of the gazed.

Motoko’s ambiguous integration with a technology that both empowers and exposes her is introduced to the plot in the form of the artificial intelligence program Puppet Master, who first appears as a mysterious voice in Motoko’s head.

Since Motoko’s self is composed almost entirely of cybernetic components the idea that a malevolent AI could hack into her communications systems and talk to her whenever it pleases is terrifying. She quickly scans the surroundings for the Puppet Master, but the urban landscape, silent and knowing, is the only thing to be seen.

This relationship between Motoko and her urban surroundings is established early on. Shortly after the opening sequence, we see Motoko waking up from bed, her silhouette juxtaposed against the view outside the window. However, Motoko soon walks out of frame to wash, leaving the audience staring out the bedroom window into the cityscape beyond. As we wait awkwardly for something to happen onscreen or for Motoko to return in the frame, we cannot help but attach some sort of significance to the view.

The motif returns and connects more explicitly to the film’s exploration of the gaze around the thirty-minute mark when the audience is treated to three full minutes of beautifully 2 The fact that Motoko, like so many other anime heroines, must strip naked before using her special powers may also be interpreted as evidence of pandering towards an assumed male audience (male gaze), but this falls beyond the scope of the current discussion.

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composed shots set in the urban landscape. This sequence is unnaturally long, even by the standards of the film’s slow pace, and during these three minutes the audience sees the city through Motoko’s eyes, in constant anticipation of some plotsignificant event that might happen anytime soon, just as Motoko is in constant anticipation of an enemy that is not only hidden but might always be watching. The sequence is broken only by a short scene in which Motoko meets the gaze of a woman who seems to look exactly like her. As Motoko’s role changes from that of gazer to that of the gazed, she too gets the sense that the city she is surveying is itself looking back at her in the form of her exact look-alike, and the film invites the audience to share her understated anxiety3.

In summary, Ghost in the Shell explores the gaze both as a philosophical theme on its own and as a recurring motif in the form of the characters’ literal gazes, mostly because of its slow pace and careful shot composition. Such a filming style, however, is difficult to replicate in mainstream cinema - it would be nearly impossible to imagine a three-minute scene in a Hollywood film where literally nothing happens. How then, could one recreate a story without the original set of storytelling tools? Even if the film were not the “minefield of political incorrectness”4 its critics have described, Hollywood’s failure to account for the original’s stylistic choices dooms its own remake to fail.

3 French psychoanalyst Jacques Lacan believed that vision is “reversible”. Consequently when one is aware that they may be watched, they might experience the illusion that what they are looking at is also staring back in return. For a comparison between the internalised gaze and the Lacanian gaze, refer to Henry Krips, “The Politics of the Gaze: Foucault, Lacan and Žižek,” Culture Unbound 2, (2010): 91–102.

4 Brian Truitt, “Review: 'Ghost in the Shell' revamp is in need of a better upgrade,” USA Today, 30 March 2017, https://www.usatoday.com/story/life/movies/2017/03/30/review-scarlettjohansson-ghost-in-the-shell-movie/99797166/.

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評語：

"On Invisible Cybernetic Killing Machines and Facebook Stalkers” 一篇於全部來稿中最為突出，理居首獎。 學術層面上，能道

出理論的複合性層次；內容而言，能觸及切身的社會話題，把角色處境 與現實並置，拓展了內容的維度，觀察亦見細微，能挖掘鮮少有人觸及 的方面，例為女主角對其他女性的凝視。如能再涵蓋動物凝視，全文會 更為豐富；結構方面，能舉用影段，深入文本，作出的分析放入框架能 支持提出的理論。雖就電影語言討論不多，行文有少量沙石，然而構思 能吸引閱讀，所舉理解層次見新穎，瑕不掩瑜。

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「凝視」影評比賽：中文組推薦獎

我創造了你，你也創造了我 虛繭著 ( 香港大學 )

《聶魯達》的劇情實則無需贅述，智利詩人聶魯達的人生是如此的 宏達，詩歌、政治與愛情，任意一個切入點都是一部僅僅兩小時的電影 無法完整涵括的。Pablo Larraín 選擇將電影侷限在聶魯達生命中的一 段時間，那段作為政治犯通輯的日子。與 Pablo Larraín 上一部落入了 傳統傳記電影形式的《第一夫人：積琪蓮 ‧ 甘迺迪》（Jackie）不同， 這次對聶魯達人生的 close-up 更少強調其生平，少了跌宕起伏的劇情， 而是以戲中人物警探 Oscar Peluchonneau 的角度碎片化地、專注地 講述這段兩人的「惺惺相惜」的日子。 其實電影無非是「看的藝術」，而怎麼看，誰在看，為什麼要這樣 看構成了視聽語言的關鍵。簡單來說，長時間的看，亦可解作「凝視」， 但根據 Jacques Lacan 的鏡像理論（mirror phase），「眼睛是一種 慾望器官」，因此凝視投射了慾望（scopic drive）。而 Lacan 又說「慾 望追求的是永遠失去的目標」。簡潔明瞭，凝視來自於說旁白的警探， 在對聶魯達的持續追捕與失去中凝視。 首先，用第一人稱旁知角度講出獨白是大部分傳記片不可避免的， 講者身分往往是無庸置疑的。然而在觀眾慢慢得知旁白的身份時，講者 自己亦開始懷疑自己的身分，一個在妓院出生的孩子，不知道自己的 父親是誰，這讓觀眾也開始質疑其角度的可信度。父親角色的遺失可被 解讀成缺席對象，即凝視中的對慾望對象在場的渴望。擁有這樣身世的 角色，對聶魯達的凝視投射的渴望亦是強於常人的。而有趣的是，正如 Lacan 所認為的「幻想最終只能抵達慾望自身——掏空了的現實填充 物」，警探姓中的「peluche」在西班牙語和法語都代表著填充動物玩 具的意思。

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究竟這部電影是否聶魯達寫下的詩篇？有兩個值得注意的對話透露 出對主角身分的挑戰。在聶魯達離開妻子後，警探追到屋子詢問下落， 在不斷轉換背景，但持續進行對話的鏡頭下，妻子指出警探實際上是被 聶魯達創造的。警探像永遠慢一步的獵犬，按照詩人佈置的線索走向被 指定的道路，在警匪小說的字裡行間存在。在對話中警探詢問妻子： - 我是虛構的嗎？ - 是。 - 你是虛構的嗎？ - 不是，我是真實的，而且我是永恆的。 這裡的永恆在尾聲再次被提及，警探旁白是那樣渴望聶魯達說出他 的名字，唯有被說出名字，他才不再是一個配角。「不說出就沒有人會 知道我存在過」也揭示了存在主義哲學，一方面是薩特的個人意義方向： 在電影裡面警探的意義究竟是自我賦予的，導演賦予的，抑或是聶魯達 賦予的？另一方面是電影存在方向：究竟電影存在的價值是如 André Bazin 所說「電影的價值來自作者」，還是由觀眾所賦予，甚至是由電 影中的角色自身創造的？ 導演訪談提到這部電影意在創造聶魯達的世界，聶魯達的宇宙。那 麼何以僅靠一部分逃亡的人生段落表達這個世界，警探角色的存在一直 以來只是為了襯托主角聶魯達是如何藝術性地逃脫與抗爭，但最終，聶 魯達如警探期待那般說出他的名字後，警探從棺蓋下重現睜開雙眼：「聶 魯達讓我成為了永恆，我本來自於字裡行間，而現在我已成為有血有肉 的人」。全片的敘事者突然從配角成為了影片的主角，不再是被詩人所 書寫的一生，相應地，詩人的世界由他來創造，來觀察，來敘述給觀眾 所知。凝視角度從開始的追求轉變為被追逐。一直以來都是由警探靠近 聶魯達，雪地裡，卻是由聶魯達主動靠近受傷的警探，凝視的對象和被 凝視的對象現在互換了身分，「你看看你寫下了什麼，警官。你寫下了 雪和馬匹，你塑造了我」。 碎片式的剪輯，彷彿詩歌富有想像力般，對世界萬物的重新解構。 角色間對話在不間斷進行的同時，場景也在不斷變換。連續的對話創造 了時空的連續感，但變換的背景卻打破了空間的局限性。實際上這段逃

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亡的人生，又何嘗不是聶魯達為自己書寫的不在紙張上的詩？ 如 Pablo Larraín 在導演訪談所說，是詩人幫助智利記住歷史。同 樣地，是聶魯達塑造了警探 Oscar Peluchonneau ，警探亦塑造了他。 是聶魯達塑造了真實的人民，人民亦塑造了真實的他。

評語： 中文來稿中未見可居首獎之作，選一推薦獎，以作鼓勵。《我創造了你， 你也創造了我》一篇對凝視的理論層面理解出錯較少，將文本置入其創 建的分析框架中，是平穩的做法，表現不過不失。 整體評語： 或因題目較為學術，來稿多見離題，此乃致命傷。 有部分來稿的選材可 供發揮，但未有扣住文本中凝視的層次，亦有來稿的論述氣勢或工筆哲 思有亮眼之處，唯參賽者對電影結構層面的把握缺乏力度，對電影的認 識流於敘事或角色，頗為可惜，建議可對其他層面多加鑽研。 對「凝視」 的理解多限於傅柯或拉岡單方面，英文首獎將兩者結合，是較多面的做 法。或因字數所限，來稿作品中少見文本間的比較，首獎的對讀因此較 為亮眼。

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/ 長洲炒雪糕

Comma Café / 樓上 cafe

家居擺設、生活用品 Yi Ni

銅鑼灣地帶 176 舖

所有貨品九折

旺角中心二樓 SK8 號舖

現貨九折， 特價品九五折

石硤尾偉智街 38 號 福田大廈 19-20 號地舖

所有貨品九折

葵涌大連排道 172 號 金龍工業中心 3 座 20L

原有優惠外 , 每人再額外扣減

/ 真花家居擺設

布袋達人 / 布袋（可訂製）

黑地 / 本土傳統山貨

派對場地 Party First HK

$10 * 會員於預約時須先表明 使用優惠

Party Loft

觀塘成業街 15-17 號 成運工業大廈 14 樓 10 室

62

預訂時表明本會會 員身份，可享額外 party 免 費 一 小 時 優惠

Alienation

Newsletter II of Society of Comparative Literature

Edit and Design: Mimi Ming Publisher: Society of Comparative Literature, A.A.H.K.U.S.U., Session 2016-2017 Address: Room 2A01, Fong Shu Chuen Amenities Centre, the University of Hong Kong Email: scomplit@hku.hk; hkuscomplit@gmail.com Website: http://www.scomplit.hkusu.hku.hk Date of Issue: 31st October 2017 Pages: 64 Acknowledgements: CEDARS, HKUSU, contributors of creative works Cover image: http://www.tspsy.com/zhuanti/cuim/2541.html