Day: October 22, 2023

Once effectively banned, Chinese science fiction has exploded into the mainstream, embraced by the government and public alike — inviting scrutiny of a genre that has become known for its expanding diversity and relative freedom.

Its new status was epitomized by this week’s Worldcon, the world’s oldest and most influential sci-fi gathering, which closed Sunday after taking place in China for the first time.

Held in the gleaming new Chengdu Science Fiction Museum, the event’s star was Liu Cixin, author of the international phenomenon “Three-Body” series and inspiration for the domestic blockbuster “Wandering Earth.”

But the wider science fiction fandom has become a rare space where diverse voices have flourished and a vast array of issues — social, environmental, even sometimes political — can be explored.

“In its nature, part of sci-fi is talking about the present,” award-winning author Chen Qiufan told AFP.

“It takes advantage of talking about outer space, or being set in different times, but reflects the human condition right now.”

Chen’s own novel “The Waste Tide” is set in a dystopian future China, where migrant e-waste workers toil in hazardous conditions, exploited by corrupt conglomerates.  

He grew up near Guiyu, once one of the largest e-waste dumps in the world.

Ecological destruction, urbanization, social inequality, gender, corruption, to name just a few — “these issues are intersectional and intertwined with each other,” said Xi’an Jiaotong-Liverpool University’s Liu Xi.

Together, they “allow everyone to understand Chinese writers’ exploration of Chinese society,” she said.  

That can be rare to find in today’s China, where the space for political and artistic expression has shrunk drastically over the last decade under President Xi Jinping.

Spiritual pollution

Historically, science fiction has had a turbulent relationship with Chinese authorities — it effectively disappeared during the Cultural Revolution and then was banned as “spiritual pollution” in the 1980s.

Though it returned, it remained relatively obscure.

Writer Regina Kanyu Wang said it was only at university that she met other fans — together they formed one of the smaller clubs on campus.

Sci-fi was not taken seriously, and seen as something for children and young adults, Chen said.

That had its advantages.

“There was a lot of freedom… because nobody was reading science fiction, (authors) could just do whatever they wanted,” the University of Zurich’s Jessica Imbach told AFP.

The global success of the “Three-Body” series changed everything, catapulting its epic themes of technological prowess and the fate of humanity into the public consciousness.

“Whether you like science fiction or not, the social reality we are facing is becoming more and more like science fiction,” said Yu Xuying from Hong Kong Metropolitan University.

“We live in a high-tech era. And then your daily life is completely technological,” she said.

The pace of digital change in China, already fast, was accelerated by the COVID-19 pandemic.

Cash has all but disappeared, and stringent health regulations further enhanced the state’s significant surveillance capacity.

The international interest spike in Chinese sci-fi is also related to real-world concerns, Chen believes.

“I think there are different layers of reasons for the phenomenon,” he said.  

“But a major one is the rising economic and technological power of China on the world stage.”

A good vehicle

China’s government has been happy to capitalize on all this.

“At a national level, science fiction is a good vehicle for conveying the country’s discourse on its science and technology strength,” said Yu.  

It can also help “highlight the relationship between the Chinese dream (a Xi-era aspirational slogan) and science,” she said.  

Authorities have put their money where their mouth is.

The nebula-shaped Chengdu Science Fiction Museum, designed by the renowned Zaha Hadid Architects, was built at light speed in just a year to coincide with Worldcon.  

The event, historically fan-led and funded, this year was a “capitalistic initiative, coming top-down from the Chinese government,” said Chen.

“They want sci-fi to be the name card of the city, showing China’s openness and inclusiveness to the world,” he said.

Government attention comes with potential risk.

“The Three-Body Problem” has a different structure in English, with the narrative beginning with a violent Cultural Revolution scene.  

In the original Chinese, it was buried halfway through the book to make it less conspicuous, the translator Ken Liu was told.  

Liu told the New York Times in 2019 that increasingly, “it’s gotten much harder for me to talk about the work of Chinese authors without… causing them trouble.”

Some works he has translated into English, deemed too sensitive, have never been published in Chinese at all.  

“If you’re very marginal, if you have low print numbers in China, then it’s OK, you have more leeway. If you’re doing a mega big-budget movie… it’s much more complicated,” said Imbach.

“That’s what’s now also happening with science fiction,” she said.  

“As it’s becoming more mainstream, there is increased scrutiny.”
…

A Nigerian action thriller that tells a gripping story of corruption and police brutality in Africa’s most populous country has reached record viewership numbers on Netflix charts globally. It’s a reminder of the power and potential of Nigeria’s rapidly growing film industry.

“The Black Book” has taken the streaming world by storm, spending three weeks among the platform’s top 10 English-language titles globally, peaking at No. 3 in the second week.

It garnered 5.6 million views just 48 hours after its Sept. 22 release and by its second week was featured among the top 10 titles in 69 countries, according to Netflix.

“Films are made for audiences, and the bigger the audience for a film, the better the chances of your message going out,” producer Editi Effiong told The Associated Press. “The reality for us is that we made a film, made by Nigerians, funded by Nigerian money, go global.”

Nollywood, Nigeria’s film industry, has been a global phenomenon since the 1990s when it rose to fame with such films as “Living in Bondage,” a thriller with Kunle Afolayan’s Anikulapo released in 2022 and peaking at No. 1 on Netflix’s global chart. It is the world’s second-largest film industry after India based on number of productions, with an average of 2,000 movies released annually.

Nollywood’s latest blockbuster, “The Black Book,” is a $1 million movie financed with the support of a team of experts and founders in Nigeria’s tech ecosystem and is Effiong’s first feature film.

It tells the story of Nigeria’s checkered past, spanning a period of 40 years from when military regimes killed and arrested dissidents at will until the present day, when police brutality and abuse of power remain rampant.

The film opens with the abduction of family members of the head of the Nigerian oil regulatory agency, aided by corrupt police officers working for top politicians.

To cover their tracks, the police kill a young man framed as the suspect in the kidnapping — not knowing he was the only child of a former special operative who abandoned his weapons for the pulpit.

In his prime, the character of ex-officer-turned-pastor Paul Edima — played by Nigerian movie icon Richard Mofe-Damijo — was known as Nigeria’s “most dangerous man” with a past punctuated by assassinations and involvement in several coups across West Africa.

Portrayed as a repentant man who has turned over a new leaf after being inspired by his favorite Bible passage 1 Corinthians 5:17, Edima feels compelled to take revenge for his son’s death after failing to convince authorities his son is innocent.

The issue of delayed justice is not new in Nigeria. Many on Friday remembered the deadly protests of 2020 when young Nigerians demonstrating against police brutality were shot at and killed. Three years later, rights groups say many victims of police abuse still haven’t gotten justice.

For Edima, justice for his son comes at a cost. One by one, he hunts down the officers behind his son’s death, leading him to the army general behind the plot — coincidentally his former boss.

“It is a fictional narrative, but this is what Nigeria was,” Effiong told the AP.

He believes Nigeria is not doing a good job of teaching its history in the schools and letting young people understand how the country’s past is shaping the present.

“A society must be changed positively by art, and so there was an orientation on our part to, through the film we are going to make, reflect on this issue (of police brutality),” Effiong said.

While a government-commissioned panel of inquiry investigated the protest shootings in Nigeria’s economic hub of Lagos in 2020, Effiong attended its meetings and provided live updates via his page on the social media platform X, formerly known as Twitter. At the same time, pre-production for the movie already had begun.

“We must tell the truth in spite of the circumstances,” he said. “Justice is important for everyone: the people we like and the people we do not like — especially the people we do not like,” he said.

Some have said the movie’s plot is like that of the American action thriller John Wick. It is a surprising but flattering comparison that also testifies to the movie’s success, Effiong said. 

The movie also has been lauded as signifying the potential of the film industry in Nigeria as well as across Africa. The continent’s streaming on-demand video (SVOD) market is expected to boast a robust 18 million subscribers, up from 8 million this year, according to a recent report from market intelligence firm Digital TV Research.

According to a Netflix spokesperson, entertainment with local stories remains the core of the platform’s main objective in sub-Saharan Africa. “Africa has great talent and world-class creatives, and we are committed to investing in African content and telling African stories of every kind,” Netflix said in a statement.

In Nigeria, the movie industry is at “the point right now where the world needs to take notice,” Effiong said.

He said that’s because. “The Black Book is a film by Black people, Black actors, Black producers, Black money 100%, and it’s gone ahead to become a global blockbuster.”
…

“Ordain women priests!” Not far from the Vatican, where hundreds of Catholics have gathered to debate the future of the Church, purple-clad activists make their voices heard against the “patriarchy”.

The place of women in the Catholic Church — led for 2,000 years by a man, which outlaws abortion and female priests and does not recognize divorce — is one of the hot topics at the general assembly of the Synod of Bishops taking place over four weeks.

Women campaigning for change have come to Rome to make their case, from Europe and the United States but also South Africa, Australia, Colombia and India.

They have different backgrounds and diverse goals — not all want female priests, with some aiming first for women to become deacons, who can celebrate baptisms, marriages and funerals, although not masses.

But they are united in their frustration at seeing women excluded from key roles in what many view as a “patriarchal and macho” Church.

“The majority of people who support parish life and transmit the faith in families are women, mothers,” said Carmen Chaumet from French campaign group “Comite de la Jupe”, or the Committee of the Skirt.

“It is paradoxical and unfair not to give them their legitimate place.”

“If you go to the Vatican, to a mass, you see hundreds of men priests dressed the same way, and no women,” added Teresa Casillas, a member of Spanish association “Revuelta de Mujeres en la Iglesia”, “The Women’s Revolt in the Church”.

“I feel that men are the owners of God.”

‘Voting rights’

The Synod assembly, which runs until October 29, nevertheless marks a historic turning point in the Church, with nuns and laywomen allowed to take part for the first time.

Some 54 women — around 15 percent of the total of 365 assembly members — will be able to vote on proposals that will be sent to Pope Francis.

Vatican observers have called it a revolution. “A first step,” say campaigners.

Adeline Fermanian, co-president of the Committee of Skirt, said the pope had given “openings” on the question of ordaining women.

“He recognized that the questions has not been examined sufficiently on a theological level,” she said.

Since his election in 2013, Francis has sought to forge a more open Church, more welcoming to LGBTQ faithful and divorcees, and encouraging inter-faith dialogue.

He has increased the number of women appointed to the Curia, the central government of the Holy See, with some in senior positions.

But some campaigners see the changes as “cosmetic” reforms which hide a biased perception of women.

Cathy Corbitt, an Australian member of the executive board of umbrella group Catholic Women’s Council (CWC), said the inclusion of female voting members in the Synod was a sign of progress.

But she said the wider view of women in the Church was “very frustrating”, much of it taking inspiration from the Virgin Mary, the mother of Jesus.

“The pope still seems to have this blind spot towards women… He seems to regard women in terms of a role, and it’s usually in terms of a mother,” she said.

Resistance

The Synod process is slow — the current meeting in Rome followed a two-year global consultation, and a second general assembly is planned for next year.

Regina Franken-Wendelsorf, a German member of CWC executive board, said women were hoping for concrete action.

“All arguments and requests are on the table. It’s now the Vatican and the Church who have to act!” she said.

While the Church debates, “there are collateral victims, frustration, Catholics who leave because they no longer feel welcomed”, added French campaigner Chaumet.

But just as Pope Francis faces resistance in his reform agenda, there is significant resistance to the women’s push for change.

“Some American bishops are afraid to follow the path of the Anglican Church,” which authorized the ordination of women in 1992, notes one Synod participant, speaking on condition of anonymity.

Another senior Church member, who also asked not to be named, noted that pressure for reform was not equal from all regions of the Church.

“We must not forget that the Church is global,” he recalled. “There are expectations (among women) in Europe, but in Asia and Africa, much less.”
…

An extreme drought in parts of the Amazon has led to a dramatic drop in water levels in the river, exposing dozens of usually submerged rock formations with carvings of human forms that may date back some 2,000 years.

Livia Ribeiro, a longtime resident of the Amazon’s largest city, Manaus, said she heard about the rock engravings from friends and wanted to check them out.

“I thought it was a lie … I had never seen this. I’ve lived in Manaus for 27 years,” said Ribeiro, an administrator, after viewing the dazzling relics.

The rock carvings are not usually visible because they are covered by the waters of the Negro River, whose flow recorded its lowest level in 121 years last week.

The surfacing of the engravings on the riverbank have delighted scientists and the general public alike but also raised unsettling questions.

“We come, we look at (the engravings) and we think they are beautiful. But at the same time, it is worrying… I also think about whether this river will exist in 50 or 100 years,” Ribeiro said.

Drought in Brazil’s Amazon has drastically reduced river levels in recent weeks, affecting a region that depends on a maze of waterways for transportation and supplies.

The Brazilian government has sent emergency aid to the area, where normally bustling riverbanks are dry, littered with stranded boats.

According to experts, the dry season has worsened this year due to El Nino, an irregular climate pattern over the Pacific Ocean that disrupts normal weather, adding to the effect of climate change.

The engravings comprise an archaeological site of “great relevance,” said Jaime Oliveira of the Brazilian Institute of Historical Heritage (Iphan).

They are at a site known as Praia das Lajes and were first seen in 2010, during another period of drought not as severe as the current one.

The rock carvings appear against a backdrop of dense jungle, with the low brownish waters of the Negro River flowing nearby.

Most of the engravings are of human faces, some of them rectangular and others oval, with smiles or grim expressions.

“The site expresses emotions, feelings, it is an engraved rock record, but it has something in common with current works of art,” said Oliveira.

For Beatriz Carneiro, historian and member of Iphan, Praia das Lajes has an “inestimable” value in understanding the first people who inhabited the region, a field still little explored.

“Unhappily it is now reappearing with the worsening of the drought,” Carneiro said. “Having our rivers back (flooded) and keeping the engravings submerged will help preserve them, even more than our work.”  
…