Skip to content
1981
Volume 32, Issue 1
  • ISSN: 1059-440X
  • E-ISSN: 2049-6710

Abstract

This article studies Midi Z’s (2016) as a cinematic representation of Deleuze’s ‘minor literature’. I argue that the film gives rise to against social and economic hegemony, particularly in its portrayal of Burmese immigrant characters who, as Agamben’s ‘bare life’, are subject to the violence underlying the biopower of neo-liberalism. A diasporic Burmese Chinese, Midi Z adopts the convention of and fictionalizes the social reality of the migrant Burmese community. articulates the pathos of those who are deprived of civil rights and who, in their negotiation with the exploitation of global capitalism, manage to survive in an interstitial space. The article unpacks the way the film allegorizes such a struggle in moments of surrealist and transcendental visions.

Loading

Article metrics loading...

/content/journals/10.1386/ac_00031_1
2021-04-01
2026-04-14

Metrics

Loading full text...

Full text loading...

References

  1. Agamben, Giorgio. ( 1998), Homo Sacer: Sovereign Power and Bare Life (trans. D. Heller-Roazen.), Stanford, CA:: Stanford University Press;.
    [Google Scholar]
  2. Agamben, Giorgio. ( 1999;), ‘ Kommerell, or on gesture. ’, in Potentialities: Collected Essays in Philosophy (ed. D. Heller-Roazen.), Stanford, CA:: Stanford University Press;, pp. 7785.
    [Google Scholar]
  3. Agamben, Giorgio. ( 2000;), ‘ Notes on gesture. ’, in Means Without End: Notes on Politics (trans. V. Binetti, and C. Casarino.), Minneapolis, MN:: Minnesota University Press;, pp. 4959.
    [Google Scholar]
  4. Bao, Ziyi. ( 2016;), ‘ Zhaodeyin dianying de gucheng yu juanniao cong yuyan he wenxue tanqi’ (‘The isolated towns and tired birds in Midi Z’s films: On language and literature. ’), Cinezen, 18 November, http://www.cinezen.hk/?p=6948. Accessed 20 August 2019.
    [Google Scholar]
  5. Chang, Wen-Chin. ( 2013;), ‘ The everyday politics of the underground trade in Burma by the Yunnanese Chinese since the Burmese socialist era. ’, Journal of Southeast Asian Studies, 44:2, pp. 292314.
    [Google Scholar]
  6. Chang, Wen-Chin. ( 2016;), ‘ Poverty and migration from Burma: Within and without Midi Z’s film. ’, Independent Journal of Burmese Scholarship, 1:1, pp. 4385.
    [Google Scholar]
  7. Chen, Hongjin. ( 2016;), ‘ Nimen kouzhong de mohuan xieshi shi women de shenghuo xianshi zhuanfang dianyingdaoyan zhaodeyin’ (‘What you call magical realism is our life reality: Interview with filmmaker Midi Z. ’), Initium Media, 22 November, https://theinitium.com/article/20161123-city-interview-film-director-midi-z/. Accessed 26 August 2019.
    [Google Scholar]
  8. Deleuze, Gilles. ( 1989), Cinema 2: The Time-Image (trans. H. Tomlinson, and R. Galeta.), Minneapolis, MN:: Minnesota University Press;.
    [Google Scholar]
  9. Deleuze, Gilles, and Guattari, Felix. ( 1986), Kafka: Toward a Minor Literature, Minneapolis, MN:: University of Minnesota Press;.
    [Google Scholar]
  10. Fang, Huizhen. ( 2016;), ‘ Zhaodeyin zhuanfang. Mengwaizhibei: Taochulai yu chubuqu de ren’ (‘Interview with Midi Z. Tragedies beyond dreams: Those who escape and those who cannot leave. ’), The Reporter, 23 November, https://www.twreporter.org/a/director-midi-z. Accessed 16 March 2020.
    [Google Scholar]
  11. Fei, Nei. ( 2016;), ‘ Zaijian wacheng taiwan dianying xinxiwang?’ (‘Road to Mandalay: New hope of Taiwan cinema?. ’), Cinephilia, 23 November, https://cinephilia.net/42730/. Accessed 28 August 2019.
    [Google Scholar]
  12. Kyu, Nilar, and Kanai, Atsuko. ( 2005;), ‘ Prevalence, antecedent causes and consequences of domestic violence in Myanmar. ’, Asian Journal of Social Psychology, 8:3, pp. 24471.
    [Google Scholar]
  13. Lee, Tang Lay. ( 2005), Statelessness, Human Rights and Gender: Irregular Migrant Workers from Burma in Thailand, Leiden:: Brill;.
    [Google Scholar]
  14. Lim, Song Hwee. ( 2018;), ‘ Towards a poor cinema: Ubiquitous trafficking and poverty as problematic in Midi Z’s films. ’, Transnational Cinemas, 9:2, pp. 13146.
    [Google Scholar]
  15. Lin, Yixiu. ( 2016;), ‘ Cong zhongjie zhenshi, dao daoyan xieshi: Zaijian wacheng yu zhuanbianzhong de zhao deyin’ (‘From “mediating” reality to “directing” realism: The Road to Mandalay and Midi Z. ’), Funscreen, 585, 12 December, http://www.funscreen.com.tw/headline.asp?H_No=645. Accessed 10 April 2019.
    [Google Scholar]
  16. Midi Z.. ( 2006), Baige (Paloma Blanca), Taiwan:: Seashore Image Production;, River 2 Ocean Film Production; and National Taiwan University of Science and Technology;.
    [Google Scholar]
  17. Midi Z.. ( 2009), Huaxingjie Jishi (Huasin Incident), Taiwan:: Golden Horse Film Academy;.
    [Google Scholar]
  18. Midi Z.. ( 2011), Guilai de Ren (Return to Burma), Taiwan:: Flash Forward Entertainment;, Montage Film Production; and Seashore Image Production;.
    [Google Scholar]
  19. Midi Z.. ( 2012), Qiongren, Liulian, Mayao, Touduke (Poor Folk), Taiwan:: Montage Film Production; and Seashore Image Production;.
    [Google Scholar]
  20. Midi Z.. ( 2014), Bingdu (Ice Poison), Taiwan:: Seashore Image Production;, Myanmar Montage Film;, Flash Forward Entertainment;, Da Huang Pictures; and V.Ifeng.Com;.
    [Google Scholar]
  21. Midi Z.. ( 2016), Zaijian Wacheng (The Road to Mandalay), Taiwan:: Bombay Berlin Film Productions, CMC Entertainment, Fine Time Entertainment, Flash Forward Entertainment, House on Fire, Myanmar Montage Films, Pop Pictures, Seashore Image Production and Star Ritz Productions Co;.
    [Google Scholar]
  22. Midi Z.. ( 2019), Zhuoren Mimi (Nina Wu), Taiwan:: Harvest 9 Road Entertainment, Jazzy Pictures, Myanmar Montage Pictures, Seashore Image Production and Star Ritz International Entertainment;.
    [Google Scholar]
  23. Miedema, Stephanie Spaid,, Shwe, San, and Kyaw, Aye Thiri. ( 2016;), ‘ Social inequalities, empowerment and women’s transitions into abusive marriages: A case study of Myanmar. ’, Gender & Society, 30:4, pp. 67094.
    [Google Scholar]
  24. Mon, Myat. ( 2010;), ‘ Burmese labour migration into Thailand: Governance of migration and labour rights. ’, Journal of Asia Pacific Economy, 15:1, pp. 3344.
    [Google Scholar]
  25. Naficy, Hamid. ( 2001), An Accented Cinema: Exilic and Diasporic Filmmaking, Princeton, NJ:: Princeton University Press;.
    [Google Scholar]
  26. Ong, Aihwa. ( 1999), Flexible Citizenship: The Cultural Logics of Transnationality, Durham, NC:: Duke University Press;.
    [Google Scholar]
  27. Ong, Aihwa. ( 2006), Neoliberalism as Exception: Mutations in Citizenship and Sovereignty, Durham, NC:: Duke University Press;.
    [Google Scholar]
  28. Paing, Tin Htet ( 2016;), ‘ In person: Midi Z: “A film is not just a film—it can be everything”. ’, The Irrawaddy, 9 November, https://www.irrawaddy.com/in-person/midi-z-a-film-is-not-just-a-film-it-can-be-everything.html. Accessed 16 March 2020.
    [Google Scholar]
  29. Pearson, Ruth, and Kusakabe, Kyoko. ( 2012a), Thailand’s Hidden Workforce: Burmese Migrant Women Factory Workers, London:: Zed Books;.
    [Google Scholar]
  30. Pearson, Ruth, and Kusakabe, Kyoko. ( 2012b;), ‘ Who cares? Gender, reproduction, and care chains of Burmese migrant workers in Thailand. ’, Feminist Economics, 18:2, pp. 14975.
    [Google Scholar]
  31. Shen, Kun Xian. ( 2018;), ‘ Cinema of distance: Midi Z’s “Homecoming Trilogy” and the borders of the postcolonial and the sinophone. ’, master’s thesis, Taipei:: National Taiwan University;.
    [Google Scholar]
  32. Steyerl, Hito. ( 2009;), ‘ In defense of the poor image. ’, E-Flux Journal, 10:11, pp. 19, https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/. Accessed 18 August 2019.
    [Google Scholar]
  33. Su, Yuting. ( 2015;), ‘ Zhaodeyin: Ruguo meiyou shuwei wo buhuilai paidianying’ (‘Midi Z: I would not make films if it weren’t for digital technology. ’), Business Next, 256, pp. 7879.
    [Google Scholar]
  34. Thammaboosadee, Sustarum, and Somboon, Vira. ( 2012;), ‘ Researching the neoliberal underclass: Burmese workers in Thailand. ’, Transnational Social Review, 2:1, pp. M-7M-13.
    [Google Scholar]
  35. Thoburn, Nicholas. ( 2016;), ‘ The people are missing: Cramped space, social relations, and the mediators of politics. ’, International Journal of Politics, Culture, and Society, 29:4, pp. 36781.
    [Google Scholar]
  36. Wang, Jinwei. ( 2016;), ‘ Huizhibuqu de miandian xiangchou: Zhuanfang zhaodeyin daoyan’ (‘Lingering nostalgia: Interview with director Midi Z. ’), Basai Dianying, 25 December, http://www.cinematik.cn/uread/app/viewArt/shareViewArt-905011d873a1494d86bd535c8fe7400e.html. Accessed 5 April 2019.
    [Google Scholar]
  37. Wang, Wan-jui. ( 2017;), ‘ Shaowukegui shuwei xieshizhuyi liuxinggequ yu zhaodeyin de guixiangsanbuqu’ (‘No country for young men: DV realism, popular songs and Midi Z’s “Homecoming Trilogy”. ’), Chung-Wai Literary Monthly, 46:1, pp. 14784.
    [Google Scholar]
  38. Wang, Yunyan. ( 2013;), ‘ Mingyunjiaozhi de dangdai miandian: Zhuanfang “guixiangerbuqu” de daoyan zhaodeyin’ (‘Contemporary Myanmar of intertwined fate: Interview with Midi Z, director of “Homecoming Duology”. ’), Funscreen, 23 April, http://www.funscreen.com.tw/headline.asp?H_No=457. Accessed 16 March 2020.
    [Google Scholar]
  39. Zhao, Deyin,, Fang, Peijing, and Zheng, Yurong. ( 2015), Ju li bing du: Zhao deyin de dian ying ren sheng ji shi (Gathering, Dispersing, Ice Poison: Midi Z’s Film Journals), Taipei:: Commonwealth;.
    [Google Scholar]
  40. Zhao, Deyin Midi Z.. ( 2019), Facebook, 23 July, https://www.facebook.com/permalink.php?story_fbid=2345018992433536&id=1446400008962110. Accessed 20 March 2020.
    [Google Scholar]
  41. Wang, Chialan Sharon. ( 2021;), ‘ Border-crossing and the narrative of the minor: Midi Z’s The Road to Mandalay. ’, Asian Cinema, 32:1, pp. 1935, https://doi.org/10.1386/ac_00031_1
    [Google Scholar]
/content/journals/10.1386/ac_00031_1
Loading
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test