Spectral monumentality and ‘spectral messianicity’: the technical invention of historical memory in contemporary Hong Kong

Abstract

Drawing on research on ubiquitous media images in the mobilization of popular resistance in Hong Kong, this article discusses mediated experience in the formation of collective memories. Following Vilém Flusser's evocative suggestions on the universe of technical images' and its force, in impacting on the sense of historical time itself, this work analyses the significance of mobile phone camera images and their contemporary proliferation in the post-colonial city. The aim is to generate a more inventive sense of possibilities than the melancholy and sense of loss that seems to pervade so much work in memory studies. Such an approach is required especially in dealing with new media technologies and the problem of memory.

Disclosure statement

No potential conflict of interest was reported by the author.

Notes

^1. At the time of writing, the potential of all these actions is being played out in the widespread protests of the Umbrella Movement in Hong Kong in September–October 2014.

^2. This pragmatic relocation of historical buildings, or parts thereof, is not new in Hong Kong and was used to justify the demolition in 1982 of Murray House (built 1844) in Central and its relocation to Stanley in 2001, as well as the old Blake Pier in Central – relocated initially to Morse Park in Wong Tai Sin in 1965 and then to Stanley in 2006.

^3. At the time of the protests, a feature film, dealing with Hong Kong's post-war leftists was in production. See Mr Cinema 老港正传 (Samson Chiu 2007).

Additional information

Notes on contributors

Helen Grace

Helen Grace is Research Associate, Department of Gender & Cultural Studies and Research Affiliate, Sydney College of the Arts, University of Sydney. She researches ubiquitous media and aesthetics and her most recent art project is Map of Spirits, a five-channel installation shown at Gallery 4A in Sydney, Mar-May 2015.