Culture was the central point of my reason to start this blog. I thought that there was so much to explore in Asian culture to try and understand the future.
Initially my interest was focused very much on Japan and Hong Kong. It’s ironic that before the Japanese government’s ‘Cool Japan’ initiative there was much more content out there about what was happening in Japan. Great and really missed publications like the Japan Trends blog and Ping magazine.
Hong Kong’s film industry had past its peak in the mid 1990s, but was still doing interesting stuff and the city was a great place to synthesise both eastern and western ideas to make them its own. Hong Kong because its so densely populated has served as a laboratory of sorts for the mobile industry.
Way before there was Uber Eats or Food Panda, Hong Kongers would send their order over WhatsApp before going over to pay for and pick up their food. Even my local McDonalds used to have a WhatsApp number that they gave out to regular customers. All of this worked because Hong Kong was a higher trust society than the UK or China. In many respects in terms of trust, its more like Japan.
Korea quickly became a country of interest as I caught the ‘Korean wave’ or hallyu on its way up. I also have discussed Chinese culture and how it has synthesised other cultures.
More recently, aspect of Chinese culture that I have covered has taken a darker turn due to a number of factors.
Late on in his writing career a bestselling author created James A Micheners Writers Handbook. Now the stuff of thrift shops and the ‘for sale’ trolley in your local library, Michener was a bestselling author for over four decades. His paperback books were the size of doorstops, yet were sold in every airport for holiday reading.
At the end of the first Gulf War, George W. Bush quoted one of Michener’s short stories in a celebration of the allied military effort. If you have ever watched the musical South Pacific, that was an adaption of Michener’s first book ‘Tales of the South Pacific‘. Ten of his works were adapted for film by Hollywood and there were a further five TV series or ‘mini-series’.
Michener died in 1993, but during his life time his books sold an estimated 75 million copies worldwide. There was a distinctive Michener fingerprint to his books:
Geography was at the route of everything, the setting was the hero of his books
Deep research: Michener would research the culture, history and geology of the setting
A common narrative rhythm to his writing
Despite running to 1,000+ pages, Michener’s books were easy to read
The writer’s handbook
James A Micheners Writers Handbook talks through the process that Michener went through in writing a couple of his works. He talks about using a cut-and-paste methodology, where he physically cut and pasted in paragraphs on to typed sheets. He discusses the move from hot metal typesetting to phototypesetting and its effect on the editorial process.
Michener’s career saw him move his writing process from mechanical typewriter to word processor and he discusses how this became beneficial to his writing style.
Michener shows the feedback that he received from the publisher, the editor and even legal review – laying open how once the original draft is submitted to the publisher, creating a novel then becomes a team sport. And that’s even before marketing gets involved.
This is all laid out including photographs of original manuscript pages and proofing copies in a coffee table book.
Creating an easy-to-read books was deceptively hard work. The refining process that Michener went through reminded me of creating propositions for a creative brief in my day job.
At the back of the book is his advice for future writers in terms of paths to getting published. He admitted that getting published had become much harder for a number of reasons:
The opportunities to showcase your writing had diminished due to the demise of short story publications
Publishers now relied on agents to filter manuscripts on their behalf
Writing courses were considered a par for the course
Michener recommended a number of careers to kickstart a writing career including working in public relations rather than journalism – which surprised me
James A Micheners Writers Handbook won’t tell you how to create great stories, but it is a lesson in writing as a multi-stage process of creation, followed by refinement and further simplification of the language. Michener’s idea of simplification is still far more advanced than we write for today in business, in advertising copy or culture.
The book itself is a bit of a curate’s egg. I would recommend it, but not too sure about who I should recommend it to. More on the book here.
The media environment that drove the popularity of The Killer
Before talking about The Killer, it makes sense to talk about the media landscape. The late 1980s and early 1990s was when consumers first started to buy video films rather than only rent them. Retail video sales had been pioneered in the UK by the music labels who sold video albums and recordings of live performances.
The prices of films suddenly became much more accessible. Not cheap, but the price of a couple of CD albums at the time. Consumers were becoming more film literate. Curated series like:
These series were our film studies lecture theatre with Alex Cox and Jonathan Ross as our tutors.
Young people’s expectations and interests expanded. Video companies started to address market needs. At first, video packaging was influenced by the rental market. The rental market needed display cases that would have hundreds of people handling a box. Durability and keeping things hygienic was the primary concern. But companies realised more consumer sales with nicer packaging. Companies like Tartan and Artificial Eye looked to people with niche interests.
The video rights for these films were cheap and there was a ready audience to watch them. These cheap film rights were already well known, fuelling US grindhouse cinema in the 1970s & ’80s. So they were the ideal vanguard to get consumers to build their own video library.
Magazines sprang up to address the need for consumer reviews. this included Anime UK, Empire (seen as the serious film buffs read), Shivers and The Dark Side.
The Killer and I
The Killer was one of a number of videos that I had bought at the time. It sat by my VCR (video cassette recorder) alongside Hard Boiled and A Better Tomorrow. All three were released on the ‘Made In Hong Kong’ video label. I also had a copy of the Japanese anime opus Akira. My collection was rounded out with a few spaghetti westerns including Keoma The Violent Breed. The westerns were released by Aktiv as part of The Spaghetti Western Collection. These were films that made a real impact on me and that I watched again and again.
I was blown away by the visual experiences that both genres offered.
Over time I have been building up my library of Blu Ray and DVD disks and managed to reacquire a copy of The Killer. Last week I watched The Killer for the first time in a few years.
The perfect confection
A perfect product is a mix of the right ingredients prepared in the right way for the right time. In the mid-to-late 1980s Hong Kong cinema was reaching its cultural peak.
The original Hong Kong poster for The Killer
The Killer is made up of layers. These layers were driven by a mix of:
Visionary directors
The febrile atmosphere in the run-up to re-colonisation by the Chinese communist government
A deep bench of talent
Hong Kong itself
John Woo – visionary director
Depending whose article you read on John Woo, you will get a number of different influences mentioned with regards to John Woo’s works of this period. This film has all of them on screen at once. John Woo is a Christian, and you see a lot of these motifs in The Killer‘s imagery and settings including the iconic church shootout.
There is a stylistic nod to French new wave films directed by Jean-Pierre Melville like Le Samourai. Gun-fu was influenced by Japanese yakuza films with their honour code and no-holds barred violence. Kinji Fukasaku’s Battles Without Honour and Humanity series exemplified this genre. The pacing of his films owe much to Japanese chambara films like The Seven Samurai and classic Chinese novels.
The reality is that the Triads were seldom rule bound or honourable isn’t allowed to get in the way of a good story.
A combination of an appreciation of westerns and the works of Melville, with being in Hong Kong during the late 1960s and early 1970s meant that Woo entered the film world as a young script supervisor for Cathay Studios. He became an assistant directors at Shaw Studios. By the mid-1970s he made kung-fu films with fighting chereographed by Jackie Chan.
In the mid-1980s he had a chance to pivot and take more creative control, which resulted in A Better Tomorrow.
Much is commented on Woo’s use of white doves in The Killer and subsequent films. The dove is a Christian motif; Woo also referenced the white and black crows of the Spy vs. Spy comic strip. Finally pigeons and doves were kept in coops on the top of tenement apartment buildings in Hong Kong such as John Woo would have lived in after the Shek Kip Mei Fire burnt down his first Hong Kong home. They also end up on the menu at some of the city’s restaurants.
Doves were also very much an 1980s cultural moment from Blade Runner‘s climatic rooftop scene to Prince. Though to my knowledge Woo never mentioned either of them as influences.
Less commonly mentioned is the scene where the stray cat enters Jennie’s flat; it signals misfortune for the main characters in the film based on Chinese superstition.
The febrile atmosphere
The Hong Kong of the 1980s was a city with a sell by date. It had become a modern well-run city after reaching a nadir in the early 1970s but all that could be easily done away with. Hong Kongers moved freely around overseas Chinese communities in Singapore, Malaysia, Thailand and Indonesia. Hong Kong and to a lesser extent Taiwan became media hubs. By the early 1970s, Hong Kong music was being sung in Cantonese around Asia, the films in Asian cinemas and Made in Hong Kong products were shipped around the world.
Prior to 1984, there was a wide range of possibilities from the British muddling through and carrying on running Hong Kong to a Chinese invasion. Generations of Hong Kong emigres moved to the UK, Australia, Canada and America for education or a bolt hole if the worst happened. Post-1984 things became real.
Vancouver’s Hong Kong community expanded during this time as middle class professionals followed the lead of ‘super man’ Li Ka shing and had their families based in the Canadian city while they visited from time to time. It also helped that Vancouver’s inner city core felt like the high density living of Hong Kong, as did the ocean edge.
All this comings and goings meant that Hong Kongers were exposed to a variety of foreign and domestic influences like John Woo, rather than the more pedestrian content available in the UK at the time.
The higher ‘moral’ values of The Killer were a line that connected modern Asia to an ancient Chinese past reassuring stability in a changing world.
Star power – the deep bench of talent.
The Killer was blessed with a strong cast of performers. Chow Yun-Fat had a perfect foil in Danny Lee. Sally Yeh is amazing in her performance as an actress and a musician. Taiwanese Canadian Yeh was already a successful Cantopop artist before acting in The Killer. The depth of talent in Hong Kong was down to the studio system operated by production companies and TV stations. Chow was a product of TVB’s actor training and made his name as a Cantonese television drama heart throb.
Beyond the actors, you had a deep bench of technical talent to draw on such as cinematographer Peter Pau. Pau came up through the conveyor line approach to Hong Kong filmmaking and The Killer was his sixth film. Things needed to be done right first time, because films had very little shooting time in comparison to their western counterparts.
People like Mr Pau are responsible for the professionalisation of the mainland Chinese film industry. The mainland-Hong Kong collaborations which snuffed out the Hong Kong film industry acted as a technical finishing school by Hong Kong filmmakers for their Chinese counterparts. In the same way that coercive technology transfer saw multinational companies train up their competitors.
Hong Kong itself
The Killer is one of the things that inspired me to move half way around the world. Hong Kong’s mix of claustrophobic yet homely flats in composite buildings, neon signage and the constant buzz of the city are something you won’t see anywhere else.
This contrasts with the small town feel of the islands. The Killer managed to shoot in locations like the busy Causeway Bay shopping district, which was done in just three hours.
Just across the border mainland China feels too chaotic. Singapore too neat and ordered. Hong Kong got the mix just right, which is the reason why the anime Ghost In The Shell borrowed so much from the city’s mid-century architecture.
All four elements come together to make a perfect confection:
Visionary directors
The febrile atmosphere in the run-up to re-colonisation by the Chinese communist government
A deep bench of talent
Hong Kong itself
Impact
The Killer‘s reception in the Hong Kong market was lukewarm at first, due the June 4th incident in Beijing. But by the end of the year it was a respectable 9th in Hong Kong box office earnings. What happened in the international markets was unprecedented for the time. The Killer was shown on the international festival circuit and became much more critically acclaimed outside of Hong Kong than within the city itself.
If you’ve watched a Luc Besson film, you’ve seen a film influenced by The Killer, as have most Hollywood action directors making films in the mid-to-late 1990s like Robert Rodriguez and Quentin Tarantino. Raekwon’s Only Built 4 Cuban Linx… sampled the living daylights out of The Killer.
Three decades on, The Killer still moves me. Given changes that have gone on in Hong Kong, we won’t see its like again.
TikTok quacks is a bit of a harsh label for TikTok content. The reality is that similar content to that turned out by various TikTok quacks appear on YouTube, Instagram and other social media channels. Quack and quackery are synonyms for medical false claims or a ‘snake oil salesperson’.
Social media not only spreads misinformation and false hope across a range of medical conditions, it allows the perpetrators to profit directly from their work. The rise of dodgy health businesses with commerce integrated into their social posts by the likes of TikTok (and Instagram) facilitates TikTok quacks.
Below are just some of the content currently exposing this intersection between health, wellness, beauty and dishonestly obtained profits.
Hong Kong’s corporate lawyers test boundaries as Beijing’s influence grows | Financial Times – legal practitioners, including corporate lawyers, are concerned the broadening scope of a sweeping national security law could jeopardise the independence of the city’s legal system, a legacy of British administration, as Beijing tightens its grip. “There is general concern . . . that people are not fully understanding where the boundaries lie,” said a senior corporate lawyer with a global firm who has worked in Hong Kong for more than two decades – not entirely unexpected and a great opportunity for Singapore
Digital materials look to use different geometry of materials to replace other materials with special properties like foams. It does this through 3d printed lattices.
Sweden Is Not Staying Neutral in Russia’s Information War | New York Times – The Psychological Defense Agency also raised political concerns when it was proposed, but its leaders have emphasized that mandate allows it to address only foreign sources of disinformation, not content generated in Sweden. The challenge is one facing all democracies that, as a matter of principle, decline to enforce official ideologies, allowing divergent points of view of what is true or false. “The government can’t control the truth if it’s going to be a democracy,” said Hanna Linderstål, the founder of Earhart Business Protection Agency, a cybersecurity firm in Stockholm, and an adviser to the International Telecommunication Union, part of the United Nations. “The government can’t control the truth if it’s going to be a democracy,” said Hanna Linderstål, the senior cybersecurity adviser of Earhart Business Protection Agency.
ChatGPT In Trouble: OpenAI may go bankrupt by 2024, AI bot costs company $700,000 every day – not terribly surprising, it’s computationally intensive and hard to monetise. Look at how Google and Facebook have looked to squeeze computing power per watt out of their data centres, along with squeezing cost per server right down as well – they did this to reduce operating costs versus income. ChatGPT hadn’t gone there on design and instead uses 10,000 plus servers based around power-hungry top-of-the-range Nvidia graphics processors
The August 2023 newsletter was inspired by LinkedIn’s in-built newsletter function. It’s almost the bank holiday so I thought I would spend some time to try out the newsletter function in LinkedIn.
If you’re reading this, you’re a pioneer! If this goes well I will put one out each month. You can find my regular writings here and more about me here.
LK99 & room temperature superconductors – why it was a big deal, what it would have meant if it were true and the damage likely to have been caused given it’s likely to be false.
Chip War by Chris Miller. You can read my full review here.
Things I have been inspired by.
How left wing politics inspired Prada’s clothing designs.
Encouraging empathy for people with dementia in Japan with the restaurant of mistaken orders (scoll to the end here to find out more).
Things I have watched.
Three Body Problem. Chinese adaption by Tencent Video and made available for FREE on their YouTube channel. Don’t worry it has English subtitles. This is based on the blockbuster novel The Three Body Problem by Chinese science fiction author du jour Cixin Liu. The three books in the series are all fantastic and there is soon to be a Netflix adaption as well.
The Peripheral on Amazon Prime Video. An ambitious adaption of William Gibson’s novel of the same name. Amazon Studios recently cancelled the next season of this drama, which is a real shame as its one of the stand out series amongst the content on Prime Video.
Un Flic and Le Samourai – the magical formula of French new wave director Jean-Pierre Melville and actor Alain Delon created some iconic crime films that inspired directors in Hollywood, Hong Kong and Japan.
The sales pitch.
Available for strategic engagements in the autumn. Contact me here.
The End.
Congratulations, you’re reached the end of the August 2023 newsletter. Until next month: be excellent to each other. Let me know what you think or if you have any recommendations to be featured in forthcoming issues.
I first heard Kurena Ishikawa on a video that a friend of mine showed me of her performing at the Blue Note Jazz Club in Tokyo. Ishikawa played double bass and played a stripped down version of Michael Jackson’s off the wall.
It completely changed the atmosphere of the original song. In Ms Ishikawa’s hands a dancefloor classic full of life became much more emotive, in particular with her plaintive voice, but still danceable.
Kurena by Kurena Ishikawa
The main reason why I bought Ms Ishikawa’s self titled album on CD was for a studio recording of her Off The Wall performance. I had high expectations as the album has been released on the Japanese arm of the Verve record label. Verve is home to the largest back catalogue of jazz standards.
Kurena as an album doesn’t disappoint. The tracks are sparse and the instruments given room to breathe. At 34 minutes the album can’t be measured by the length of the recording but the quality within.
The album starts off with Sea Wasp which feels like a seamless mix of bossanova type vocals laid over a light jazz backdrop. The percussion evokes the winds and waves of the beach. The harder you listen, the more you get out of the track. I decided to listen to the rest of the album on a pair of AKG K872 headphones, which allowed for an open yet more detailed listening experience.
500 Miles High has Ishikawa’s vocals leading a more free-form experimental track, taking us from crashing surf to the sky. Bird of Beauty brings back a more Brazilian feel to the recordings with the focus again on Kurena Ishikawa’s lilting vocals.
Olea takes the tempo right down and focuses on the interplay of double bass, jazz drums and piano.
The album version of Off The Wall sees Ishikawa play double bass and sing unaccompanied. The performance while really good, feels incongruous with the rest of the album content. Despite this I can wholeheartedly recommend Kurena as a great album. It deserves to be focused on as a listening experience as could easily disappear to the background through a casual listen.
