YELLOW PERIL "Imagine a person, tall, lean and feline, high-shouldered, with a brow like Shakespeare and a face like Satan, a close-shaven skull, and long, magnetic eyes of the true cat-green. Invest him with all the cruel cunning of an entire Eastern race, accumulated in one giant intellect, with all the resources of science past and present, with all the resources, if you will, of a wealthy government--which, however, already has denied all knowledge of his existence. Imagine that awful being, and you have a mental picture of Dr. Fu-Manchu, the yellow peril incarnate in one man."
Sax Rohmer's tales of the sinister
Dr. Fu Manchu and his arch enemy
Sir Denis Nayland Smith of the British Secret Service (the nephew of
Sherlock Holmes whose name is also
invoked in
Thomas Pynchon's
Gravity's Rainbow), have fascinated readers and
cinemagoers alike for
the best part of the twentieth century. Two things make Fu Manchu all the more monstrous a villain: his proximity to the West, and his intellect. His base is in
Limehouse, the
Chinese area of London. So by allowing him to live in the country, England is vulnerable to
his insidious plans (and so becomes a validation of strict immigration policy). His intellect comes from Western learning, and it is often emphasized that he has been educated in a University. So we see the evil Asian as using the West's own knowledge against it.
It is up to Nayland Smith and Dr. Petrie to stop Fu Manchu's plans in each story. As Smith remarks in
The Hand of Fu Manchu, "the swamping of the white world by Yellow hordes may be the price of our failure."
(more inside)
posted by matteo
on Nov 10, 2004 -
16 comments
Discovering Japan. As a
perennial outsider at loose in Japan,
writer Donald Richie captures the
joyous freedom of being foreign. The foreign observer is likely to be happy only if he sees his foreignness as an adventure, and recognizes that he has given up a sense of belonging
for a sense of freedom, traded the luxury of being understood for that of being permanently interested.
Richie, the philosopher-king of expats in Asia for the past half-century, arrived in Tokyo in 1947 as a typist with the U.S. government and never really left,
writing dozens of books ,
on Japanese movies,
temples, history and
fashion, while enjoying himself as an actor, musician, filmmaker and painter.
The Japan Journals: 1947-2004 is a monument to the
pleasures of displacement. Richie watchers can observe, more intimately than ever, a man who is generally happiest observing. More inside.
posted by matteo
on Nov 9, 2004 -
12 comments
Memories of a Dog .
Moriyama Daido's
pictures are
taken in the
streets of Japan's major
cities. Made with a small, hand-held camera, they reveal the speed with which they were
snapped. Often the frame is tilted vertiginously, the grain
pronounced, and the
contrast emphasized. Among his city images are those shot in underlit bars, strip clubs, on the streets or
in alleyways, with the movement of the subject creating
a blurred suggestion of a form (warning: NSFW images if you scroll down the page) rather than a distinct figure.
His best known picture,
Stray Dog, (1971) is taken on the run, in the midst of bustling street activity.
It is an essential reflection of
Moriyama's presence as an alert outsider in his own culture.
Moriyama is also a
toy-camera enthusiast (
his favorite is the
Polga)
. He has worked
in the US, too: "
N.Y. 71".
(more inside)
posted by matteo
on Sep 27, 2004 -
6 comments
