This is the first text to address British Chinese culture. It explores British Chinese cultural politics in terms of national and international debates on the Chinese diaspora, race, multiculture, identity and belonging, and transnational ‘Chineseness’. Collectively, the essays look at how notions of ‘British Chinese culture’ have been constructed and challenged in the visual arts, theatre and performance, and film, since the mid-1980s. They contest British Chinese invisibility, showing how practice is not only heterogeneous, but is forged through shifting historical and political contexts; continued racialization, the currency of Orientalist stereotypes and the possibility of their subversion; the policies of institutions and their funding strategies; and dynamic relationships with transnationalisms. The book brings a fresh perspective that makes both an empirical and theoretical contribution to the study of race and cultural production, whilst critically interrogating the very notion of British Chineseness.

The Internet was supposed to be an antidote to authoritarianism. It can enable citizens to express themselves freely and organize outside state control. Yet while online activity has helped challenge authoritarian rule in some cases, other regimes have endured: no movement comparable to the Arab Spring has arisen in China. In Contesting Cyberspace in China, Rongbin Han offers a powerful counterintuitive explanation for the survival of the world’s largest authoritarian regime in the digital age. Han reveals the complex internal dynamics of online expression in China, showing how the state, service providers, and netizens negotiate the limits of discourse. He finds that state censorship has conditioned online expression, yet has failed to bring it under control. However, Han also finds that freer expression may work to the advantage of the regime because its critics are not the only ones empowered: the Internet has proved less threatening than expected due to the multiplicity of beliefs, identities, and values online. State-sponsored and spontaneous pro-government commenters have turned out to be a major presence on the Chinese internet, denigrating dissenters and barraging oppositional voices. Han explores the recruitment, training, and behavior of hired commenters, the “fifty-cent army,” as well as group identity formation among nationalistic Internet posters who see themselves as patriots defending China against online saboteurs. Drawing on a rich set of data collected through interviews, participant observation, and long-term online ethnography, as well as official reports and state directives, Contesting Cyberspace in China interrogates our assumptions about authoritarian resilience and the democratizing power of the Internet.

This volume focuses on the place of biographical research in social futures and its creative applications in the new unprecedented societal circumstances, caused by the COVID-19 pandemic.

This book demonstrates how creative research methods can be used to better understand the experiences of children, particularly in the context of sport, physical activity and health. Extending recent developments in arts-based methods, mobile digital ethnographic methods, participatory visual methods and autoethnography in research with children, the book focuses on British Chinese children – an often-neglected group in research studies – providing new perspectives on diversity and inclusion, innovative research methods and the Chinese diaspora. The book draws on concepts from health and physical education, sport, sociology, and psycho-social studies to shed new light on social dynamics, cultural diversities and contextual changes in British Chinese children’s health-related experiences. It shows how globalisation and international mobility has complicated diversity and difference in the Chinese diaspora, and how creative research methods and reflexivity can be powerful tools for unlocking our understanding of children’s everyday lives. This is fascinating and useful reading for any researcher or advanced student with an interest in innovative research methods, sport, physical activity, health, migration and diaspora studies, childhood and youth studies.

Global London on screen presents a mélange of films by directors from the Global South and North, portraying everyday life to the more fantastical, odious, or extraordinary in terms of circumstances as captured cinematically in this superdiverse city. This book portrays a segment of such superdiversity by historicising and theorising various cinematic reproductions of London by filmmakers coming to this megacity from abroad. As visitors, cosmopolitans, or even migrant filmmakers, their treatment of London’s zonal locations as both foreign and familiar is fascinating; their narratives and visualisations of London’s spatial and architectural uniqueness is given a sojourners’ touch; while other foreign filmmakers showcase and sometimes problematise London’s socio-cultural globality and locality as both British and a city open (and sometimes closed off) to the world.

An emerging interest in a British East and Southeast Asian identity after decades of political and social exclusion has coincided with periods of economic and political challenges in the UK. In Migration and Identity in British East and Southeast Asian Cinema, Leung Wing-Fai argues that this explosive context has created rich and diverse forms of storytelling and an accented cinematic language. By offering close readings of key contemporary films and positioning them in a wider slate of releases by British East and Southeast Asian filmmakers alongside Anglophone film histories in the Global North, this book sheds light on a developing field and engenders new ways of understanding British cinema and society. The author explores changing representational politics in contemporary cinema and argues for the cinematic visibility of a hitherto silenced community. Drawing on theoretical frames from sociological, film and cultural studies to critically engage with the textual and visual language of the case studies, Leung claims the place of British East and Southeast Asian Cinema as a film and cultural movement. Highlighting diversity among the British East and Southeast Asian community, pushing boundaries in its intersectional approach to ethnicity, race, gender and sexuality, and proposing a critical framework for academic studies on diasporic film-making in the UK, this nuanced and innovative study will interest researchers, teachers and students in a range of Humanities and Liberal Arts subjects, including Film and Media Studies, Regional/Area Studies (Asia), and arts, cultural and creative productions from the East and Southeast Asian diaspora.

This study reviews developments in the ethnic and national identity of the descendants of migrants, taking ethnic Chinese as a case study. Our core question is why, in spite of debates worldwide about identity, exclusion and rights, do minority communities continue to suffer discrimination and attacks? This question is asked in view of the growing incidence in recent years of ‘racial’ conflicts between majority and minority communities and among minorities, in both developed and developing countries. The study examines national identity from the perspective of migrants’ descendants, whose national identity may be more rooted than is often thought. Concepts such as ‘new ethnicities’, ‘cultural fluidity’, and ‘new’ and ‘multiple’ identities feature in this examination. These concepts highlight identity changes across generations and the need to challenge and reinterpret the meaning of ‘nation’ and to review problems with policy initiatives designed to promote nation-building in multi-ethnic societies. This book was originally published as a special issue of Ethnic and Racial Studies.