Cultural Review Removed from the Mainland, and Was Trying He Spies on Her Bathing

Home , Cinema of China, Ju Dou, Li Baotian, Zhang Yuan (director)

Cultural Review removed from the mainland, and was trying he spies on her bathing. Battered by an to rope in its wayward province of Taiwan impotent husband who blames her for his After Tiananmen: Global Media and the government in exile of Tibet; this own sexual inadequacy, Ju Dou is bathing China could not afford the world to see her wounded body as Tianqing looks at her and the Spring of 1989 chaos in the square. American-owned through a peephole. She turns, returns BY GINA MARCHETTI global media saw things differently. Rather Tianqing’s gaze, and displays her wounds to than presenting demonstrators with him. As Jenny Lau points out in her analysis This excerpt from a forthcoming book demands specific to their positions within of the scene: describes the depiction of Tiananmen in China’s rapidly changing economic and One finds that the explicit erotic content the global media over the past 15 years.1 political structure, television screens nar- of the film—beginning when Judou delib- cissistically reflected the “Americanization” erately turns around to expose her naked The global media were not in the People’s of the Chinese, and thus the world, as the body to the peeping Tianqing—is not Republic of China in May 1989 to cover a “Goddess of Democracy,” a postmodern derived from a simple act of narcissism. demonstration, even though the protests sculptural citation of New York’s Statue of Indeed, her tired, dirty, and bruised body, had been heating up in Tiananmen since Liberty, made her appearance on Ted together with the melancholy accompany- the death of Hu Yaobang a month before. Turner’s satellite broadcasts. The contradic- ing music, offers no ‘visual pleasure’ for An out-of-favor Party official, Hu became a tions between nationalism and processes Tianqing or the film audience. Judou’s symbol of reform around which various pro- of globalization, as well as the ways in turning around represents a decisive testers could rally, and now Deng Xiaoping which global capitalism could reinforce move against the gerontocratic and patri- found himself in the embarrassing position national interests, were placed in high relief. archal rule that operates against her.3 of having the world watch a mass move- New technologies transformed the ment occupy Tiananmen Square. Mikhail moment, and the visualization of the Tian- In the course of the film, Tianqing’s look Gorbachev had achieved an historic rap- anmen demonstrations that spring came to turns from voyeuristic pleasure to embar- prochement with Deng, another reform mark the way in which China has been seen rassed compassion, and Ju Dou/Gong Li is minded Communist head of state, and and screened worldwide ever since. The transformed from an object of erotic desire global interest centered on the Soviet image of the lone man confronting a line of to a wounded being confronting leader’s visit to China that May. tanks in the streets of Beijing speaks vol- Tianqing/the world and silently asking for Four years before, CNN had inaugurated umes as a celebration of the individual (or perhaps demanding) justice. its global news network, and in 1987 it had against the State (a shorthand for Reagan- Given the events of 1989, JU DOU’s set up a news bureau in Beijing.2 Real-time Bush policies suspicious of “big” govern- acerbic treatment of decrepit old men satellite broadcasts of world events had ment at home and “evil empires” abroad), oppressing the younger generation to the become commonplace in 1989, and the a symbol of hope on a par with anti-govern- point of mutual annihilation seems to alle- events leading up to the violent suppres- ment movements as diverse as People gorize the Party’s treatment of the demon- sion of the protests on June 3–4 received Power in the Philippines, anti-apartheid in strators. As film scholar Dai Jinhua notes the global immediacy of satellite coverage. South Africa and Solidarity in Eastern referring to the film: With the Internet in its infancy and satellite Europe, or as an icon of hopelessness for In a certain way, it relates the heavy and broadcasts virtually impossible to pick up Chinese around the globe who continue to painful emotions associated with the by television viewers in China, faxes flew lament a China destined to face impossible Tiananmen Square crackdown to the across continents to feed information to odds head on. In comparison with this soli- China of the nineties.4 the demonstrators about world press cover- tary image, the long history of the People’s age of the protests. The visual and spatial Liberation Army (PLA), the Chinese people’s Given that downtrodden women in the seat of power in Tiananmen, China’s most love-hate toward waves of political change Chinese cinema have often signified the public square, shifted from the official associated with the Communist Party, and Chinese nation, beaten and in need of liber- reforms of the Communist bureaucracy the legacy of demonstrations and individual ation, looking at Ju Dou as a bloody but (envisioned by the meeting of Deng and protests dating back centuries to figures defiant China seems appropriate. Reluctant Gorbachev) to the control of the square by like Qu Yuan, whose suicide is celebrated to put a stop to his older relative’s abuse of students, workers, artists, intellectuals and annually on Dragon Boat Day, or the demon- his young wife, delighted to share in the activists involved in the protests. The world strations in Tiananmen on May 4, 1919 power the old man has over her by spying watched, and the demonstrators and the that ushered in the modern era of Chinese on her nude body, Tianqing represents com- government leaders knew the power China culture, fade from view. plicity with power, and when Ju Dou turns, had as the cynosure of global media. The image of the man standing alone she confronts her line of tanks in the form In 1989 Tiananmen Square was the against the tanks resonates with another of Tianqing. In fact, JU DOU provides a view core of the capital of a China that had prominent image produced in China around of the oppressed that the footage of the recently reclaimed Hong Kong through the the same time. In Zhang Yimou’s JU DOU anonymous man facing the line of tanks in 1984 British-Chinese Joint Declaration, (co-directed with Yang Fengliang, 1990), the Beijing does not offer. This time the cam- was welcoming “back” overseas Chinese title character, played by actress Gong Li, era, the audience, the world shares Tian- investors who might be generations catches her in-law, Tianqing (Li Baotian), as qing’s point of view, and this moment of tion shattered Chinese it notes: nese hotly tured, the June the because Yimou’ response. and ments screens Zhang gazed the of tional shifted acclaim. won boost eration attempted The DOU Best be Cannes tion. industr had e released banned complacency she/an and post-Tiananmen lage confrontation attached men ven is the nominated y Not When tional eration of shifts into which The tanks global not fact the already the to considerable circulate in began Nominated attracted F 3-4, before contested wor China financing its oreign Chinese and back s Yimou on the “ y China from sur wish for the At oppressed possible JU tacit go and fi with that as people, With ld of in visibility to culture into seems lms the and the mo 6 into mar and ver the massacre. prisingly of the to DOU. liberation and As their a to the at widely on b it to the domestic F ved challenge the a “China” y-passed of withdra lights Japanese-Chinese took nment’ and the Tiananmen are on extends perfect repor ilm began circulate k for Tianqing meaning Re a Academ Miramax after “liberate” film, film go , et PRC be throughout the from fir series for representations mar to and ability (The different China to y in, liberation ver an able in in complicity econom inter yond. st command var Chow , be China that ter w which be 1920s a the this images the the in s k nment Academ w film production, ent that of ” on a et, timing Golden ying film s repressive the 8 be funding to national 1992). y simply the the of to F in subject and on “China, of Images Chinese implicitly w as United press, A As moment film ilm and notes, out yond Chinese from cross ere demonstrations confronts w collective shifts Ju positions shift “content, y screens w China significations. global domestic film . its ard of to Chris the as to . the , As of Bureau 5 Dou’ in on y so of Zhang banished P the the one a distributor the a How A to finally ” China alm only the gear from and Ju States, border ethnic of critical w global wor Zhang of into on. the winner remote which co-produc- censor became JU s ard transna- screens of Ber com- “image” of women, present, the Dou PRC of Tianan- e inter globally: ” gaze 7 at ld, JU s helped global noun night in China ver Yimou DOU shock, the consid shifts fi r the for frac- as y pow lm s Chi- rela- DOU , to JU na in and s lib vil as . of is - er - - - wide notes: par tor been screen tutions prerogative to with year which and preferable TIBET por Richard such suppression the Lama, dhism ha tank. includes LO ate backdrop Har June the and than episodes. ne secret K unfinished Hong nese of excesses ing which prostitution concrete empire” niently impor the ture the a Hollywood ong nar ving ws the VE China, y y ticular ter F The With class k, . 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REGULAR FEATURES 75 CHINA RIGHTS FORUM NO.2, 2004 SHOOT FOR THE CONTENTS (1991) to take “white terror.” As a photographer, Leung’s ble” to be seen and for the silenced to be the Tiananmen demonstrations and their character both witnesses and documents heard. Like the demonstrators in Tianan- media depiction into account during the the era, but he remains silent. men, A Lan steps out of the shadows to production of the film. As a counterpoint, The impact of Tiananmen, like the hor- stand up and be publicly counted. As a she puts contemporary Chinese cinema in rors of the “white terror,” left many unable Sixth Generation filmmaker, Zhang Yuan the mix by including a highly stylized inter- to articulate their thoughts and feelings. has an intimate association with the gener- view with former Xi’an studio head Wu Tian- While many remained mute, Tiananmen ation most visibly connected to the Tianan- ming, a strong supporter of the Fifth united and polarized the Chinese-speaking men demonstrations. Although a coalition Generation who spoke out during the 1989 world in profound and sometimes unex- of various groups and committed individual demonstrations, and who subsequently pected ways. Even without direct mention activists occupied the Square, students immigrated to the United States.14 Shu Lea of 1989, images of Tiananmen evoke differ- took center stage as the principal represen- Cheang, unable to enter the People’s ent associations as a consequence of the tatives of the Tiananmen demonstrations. Republic to record the spring 1989 events, crackdown. When Sixth Generation film- In fact, Zhang Yuan and other Sixth Genera- focused instead on an analysis of Taiwan’s maker Zhang Yuan looks at daily life in Tian- tion filmmakers became intimately associ- reportage of the Tiananmen demonstra- anmen in THE SQUARE (co-directed with ated with the “Tiananmen generation” as it tions in HOW WAS HISTORY WOUNDED Duan Jinchuan, 1994) or interrupts the suffered through the repercussions of the (1990). loose narrative of BEIJING BASTARDS 1989 events.19 For example, Zhang’s BEI- Hong Kong filmmakers Shu Kei and Ann (1993) to allow the camera to move JING BASTARDS (1993) features Cui Jian, a Hui also explored the effects of the Tianan- through the square in the rain, 1989 rock musician known around the world for men demonstrations in documentaries that haunts the images.17 his appearance in Tiananmen in support of included strong ties to Taiwan. Ann Hui pro- Balancing the personal and the politi- the demonstrations; Cui also co-wrote and duced a documentary for Hong Kong televi- cal, Kwoi’s DARK SUN; BRIGHT SHADE produced the film. sion on Taiwanese singer Hou Dejian, who (1993) depicts a gay love affair between a However, the most direct cinematic played an active role in the spring demon- Chinese dissident involved with the 1989 indictments of the 1989 crackdown have strations in Beijing, and who was later demonstrations and his Chinese Canadian come from filmmakers working with people arrested and deported back to Taiwan. lover. Although Stanley Kwan’s LAN YU living within the transnational Chinese cul- Made in collaboration with Taiwanese (2001) also deals with the juxtaposition of tural sphere. Michael Apted’s MOVING THE screenwriter Wu Nien-Jen, Shu Kei’s docu- a gay relationship with the Tiananmen MOUNTAIN (based on Li Lu’s memoir of the mentary SUNLESS DAYS (1990) looks at protests, it is Zhang Yuan’s EAST PALACE, same title, 1994) and Carma Hinton and the impact of the previous spring’s events WEST PALACE (1997) that perhaps more Richard Gordon’s THE GATE OF HEAVENLY on a variety people living around the world, than any other film uses its story about gay PEACE (1995) stand out as attempts to including Taiwan’s Hou Hsiao-Hsien, several life in Beijing to work through feelings sur- reframe the demonstrations and their members of the Hong Kong film community rounding the crackdown in June 1989. In impact.20 THE GATE OF HEAVENLY PEACE, in involved with the demonstrations, and this case, a young gay man, A Lan (Si Han), addition, brings the continuing implications members of his own family. Narrated in is hassled by a policeman while cruising of Tiananmen from the cinema theater to English and financed by Japanese televi- the “palaces,” the public washrooms fre- the video screen and to the Internet, con- sion NHK, SUNLESS DAYS insistently quented by gay men for surreptitious sex siderably expanding access to information makes Tiananmen a global issue, with near Tiananmen Square. Seemingly on about the demonstrations and their sup- implications beyond its significance for impulse, A Lan kisses the officer. Actually, pression. Hong Kong and Taiwan and their prospects the young man has a masochistic attrac- Through the Web site that accompanies for reunification with the People’s Republic. tion to this figure of authority, and during the documentary, Carma Hinton and Hou Hsiao-hsien’s controversial CITY OF the course of a night’s interrogation, a rela- Richard Gordon expand access to informa- SADNESS was released in 1989. As many tionship develops that has more to do with tion provided in the film to viewers unable artists and intellectuals in Taiwan power than sex. As the images of the man to screen the documentary. Reconfiguring attempted to distance themselves from the confronting the tanks in Beijing and Ju Dou global space for a critical voice on Tianan- mainland, from the reality of the KMT and confronting Tianqing force a recognition of men, the Web site provides a place for the threat of the Chinese Communist oppression, A Lan’s direct address to this reflection on the events of spring 1989 Party/CCP, Hou’s depiction of the “white ter- figure of Chinese governmental power unbounded by the usual channels of broad- ror” profoundly resonated with recent speaks to contradictory sentiments that cast television and video distribution, which images of the violence in Tiananmen that had been percolating since 1989, involving as in the case of THE GATE OF HEAVENLY spring.15 Just as Shu Kei’s “casting” of Hou complicity with forces of tyranny, a PEACE itself, have often been hindered by in SUNLESS DAYS draws Taiwan into the masochistic love of victimization and the censorship. Beyond efforts to block it with orbit of concern in the aftermath of Tianan- insistent urge to struggle against authority firewalls or force its ouster from film festi- men, Hou’s casting of Hong Kong actor Tony at any cost.18 vals, THE GATE OF HEAVENLY PEACE (in its Leung as the mute protagonist in CITY OF For A Lan, the public lavatory is also a film, video and digital incarnations) pro- SADNESS16 draws Hong Kong and the rest stage, and Tiananmen Square again vides a mediated Tiananmen Square for on- of the Chinese world into the drama of the becomes a platform for the officially “invisi- going debate and political critique. 3. 2. 1. the whether teen the those nese number cation b and type space” acterizes body erable PEA the exploded China y a and tions tical lishing Diaspora Squar Quar for e o land There, In coming). (Philadelphia: How with Chinese-speaking in ferent smooth w cal mail, posted porar Visuality Also the Desser nese Experiment looks sity Jenn See Excer W Inter Inter CE the number ver ver of a year politic. Cyber eb mainland fact, y um with and and Hear border potential Press, indicates, J political Mik y the seas Reading yda as terly e quoted apan a on Chinese y Chinese, of pted Cinema, net net e: a at site debated Kwok ver , s Chinese , the on of simple w for Inc., vir , T e eds. the y follows: people on the the access the t y location after a space. Sexuality ransnational communication, on , . 45:2 of Chino did. wor has as ys F from the (Austin: of tual a Chinese The 1995), for s the potential or w in Visual W the same Global in 1997). Chinese presence digital no Cinematic of ebsites, of a China critical ” ah ld discour Color T instance, for THE the Even Re yet Inter (Winter emple change Linda Cinema diaspora fir Inter y site F Tiananmen in Hong wide writing this Cross-Cultural Drag ” , longer who rom Lau, do y st China , Also, Ar p. the chat radically scene Ethno Univer to Chow demonstrations, Scr GA and net wor time, space can ts and for net on minor 166. not presence Tiananmen C. Chinese “JU factor Univer China be ha K of eens, se diaspora creation 1991–2), and transmitted TE (NY: Landscapes: ong (Atlanta: Live: rooms. Chinese of count Erhlich of ld public P , graphy as since ve has “Chinese talk in necessarily sity other seen. Primitive or Ian DOU—A in remains Jenn OF T font. can transnational Cinema such aiw “JUDOU: bar traiture Bur volving open access and 1989–1997 Columbia sity Chinese, s. diminish T will of become wo about Bur HEA Cinema, in y , anese, opinion, rier Class, and 1989. be par debate. T 21 uma and has Geographi- Press, the Lau of to p. exas T Decades has as emerge the character ur uma for Her P VENL o s Times of 3. ts in a Da ner assions: limited Chinese Contem vercome Cyber- China b Obser the also An politics to to consid- notes, China digital same y Chi (2–10) Press, meneu- an Univer- of vid and ” use the edu a for As main- e- Pub- char- “Chi- Y F dif- y the - F ilm th- in v if- on a- - - s 6. 5. 4. 7. 9. 8. in model, 1995), Cinema ity boundar Chinese ing 1997), Gender tional Yimou, T peng 1993), China, og is (London: hua, ism sippi, vie F DOU 2002), for temporar tions, Critical chapter (Durham, Cultural 2002), Repr Smith), chapter Cinema. F 303-330. olulu: Cinemas: don Subjectivity tive: texts, been 1994), F Looking Dai Re ransnational rances or rames 1998), American tions, rounding J ema(s) chapter (NY: F Chris ournal , or critiqued the y y ws , Ethno , Chinese more Jinhua, and “The Chow Hsiao-peng Nation: esentations more The eds. in Lu, analyzed and (Jackson: Cambridge 2001). Chinese Cinemas see: Univer ” ” ” Ber see Inter p. pp. pp. chapter chapter p. se Ne (Honolulu: East-W of (NY: 4. 6. Scene: see y Sheldon at Cultural Gate pp. (London: and F 7:1 graphy “National Constr y 5. on V Mysterious , Identity NC: Jing 2 veral 137. 149. ilm, Jerome the Refer r w Chinese on er Primitive Chinese Yingjin Sheila JU Imagination, Shuqin 105–136. 52–80. y Cinema Richard b 24:3 and ventions, , Studies, JU 54–59. this sity Chinese so, T y Columbia (Januar Nationhood(s), w “ ” onglin American T DOU Duk Capital: A W W Cinemas: est ard, ransnational in trans. of DOU A of F This , 6. 4. ence uction Nation Univer Lu, .A. ang 2002), Sexuality and or of P (London: point, , Hsiao-peng Handbook (F a Univer T Cor Nationhood, olitics the e Zhang Reaktion Silbergeld, F Claire Zhang aiw Univer Cui, all more Ha as ed., Cinema, number Cinema politics ilm Callahan, and ed. Univer P Madsen, Lu, par y in and Contemporar Univer assions: Cinema: in Other nelius Cinematic Liu inter an w 1993), 1997), See an The sity and the J Univer see “Gendered T(w/o)o: aii ” Contemporar Zhang T ticular political p. ournal sity Confronting Desir in Identity , ransnational Huot, T on and Dissent sity Yimou Kang allegor Scr ani in sity W 56. Press, vie Press the also Cultural F : Representation and (Ann sity Sheldon of Books, Imaginar ” Press, ilms of (with the allflow Cultural P JU eening Lu, e: of “China ws Mainland China sity ostpolitics E. p. East-W “Gender pp. Visuality Challenging different Y W Press, Gender moment Chang 7:1 China’ and imou of , DOU, F Chen its Ha Reconfigura- “Zhang discusses 25 Bar ork rhetoric y Chinese Arbor Nationhood, eminist collected ed. of of (Winter 1997), 123–141. Ian Press, of y Michigan, er w implica- P (Januar 2002), 1999), P Anbin Zhang (24–51). Missis- Chinese low into of Modernity er China: aii est Hsiao- June olitics Critique, ” T y in y es s Press, Inter- Ha 2000), Xiaom- ransna- Chinese , , : spec- Chinese Shel- (Hon- in Dai Ne Sexual Ideol- Press, the con- Center China has Yimou F ydn F sur- Marx- in Con- pp. ilm w ilm: Cin- Shi 4th Jin- y in JU of of - 12. 11. 10. 17. 16. 15. 14. 13. Hauk 1997), R Masculinity der action W a Wo sand 16–17. ver ema C.M. Cinema pp. Asian RED film, sphere” 2000). (Lanham, Public Stephanie the the from ver Identity peng films ing 1998), the see ments OF ness/index.html. space.ber and rating see 2002). naud, (201–207). ema “Flow fer tur the “T pp.39–59. F V W Esther F F F F P F A or or or or or aula iolence: O oo’ oo discussion ransnational CE/OFF son.village. e, W sity o sity SADNESS a a the more more a 117-128. Smiles 80s, F creation relationship Douglas Abé Hyper s see (LA: CORNER quoted in Inter ilms V e, BEIJING Y and Bullets: Nation: of er study Lu, detailed Cinema Kalina A ol. National au, oeuvre Spaces: films, in of C.M. of , a pp. pp. definitive s “John F Hou (1–28). CITY Nationhood, in ” Mar after or F ed. Bor Lone Repression, contemporar 8, on on Ha v , Minnesota THE of F JUMP MD: k ” ed. a textual al a rom Hemelriyk ele 25–41. 101–115; ye Give more of F No. in w Evans Y Border this these derless in Hsiao-hsien, k see of OF T (NY: ilm inter K The T of au, aii within ransnational BAST as At W the 12:1 1989, Driven Zhengxing y aiw KILLER, John Nor examination ellner virginia.edu Eagle, Rowman Christopher .edu/P Cinema Cinema, Sadness: the A oo’ the CUT 2 SADNESS Me Full Criticism betw Press, point, w Julian study on “Introduction: BETTER Cinematic anese Disper vie Routledge, F critical nes (Januar ell s films, or Chan, ARDS less Also public (Spring-Summer W impact , Strength’: W the the Cinema No. w Speed: Gender see Press, “Ne China ” een as oo’ 2000), a Donald, ” aper orld June y and with T see of and 1997), discussion Stringer Scr T rinh Hybrid W context mentioned and notion sion, Histor , s other 42 ” aiw see ” w reception Xudong Cinematic y in “Has 24:1 TOMORR CITY Chinese or sphere, A (Minneapolis: (London: P s/CityOfSad- Sheldon Y een Chinese /pmc/ T 1998), of Heard, Yip, T Bérénice into of ostmodern Civility eh J 2001), ld, (December aiw the Hong anese BETTER T rinh (Honolulu: ourne Littlefield, of pp. . Gina 1999), June http://cinema- Public this Minh-ha, ” Hong y P pp. Y OF Identities 38:1 (F , the of an Hyper Hong “Constr Its in context aradigms ueh-yu, and of “’Y T 88–89. all Zhang . K a SADNESS, see Esther y Marchetti, Cinema T 139–168. scene http://jef in de film O Minh-ha, cinema, of 1989 Cor Mo ong our of pp. Cinemas: en Hsiao- in “public BFI, 1999), of K Mapping W 2001), the (Spring TOMOR- p. Secr Re China kinetic velop K CITY ong this Rober vie Thou J ner?” to Cul- ong and T 206 ohn Cin- Cin Uni- uct y- Nar- , en of Uni- F and on ets, of or - - - - in - t -

REGULAR FEATURES 77 CHINA RIGHTS FORUM NO.2, 2004

“Nationalism, Mass Culture, and Intellec- ation, see Shuqin Cui, “Working from the pp. 13–27; Bérénice Reynaud, Nouvelles tual Strategies in Post-Tiananmen China,” Margins: Urban Cinema and Independent Chines/ Nouveaux cinemas, chapter 5. Xudong Zhang, ed. Whither China? Intellec- Directors in Contemporary China,” Post 20. For a review of these and other documen- tual Poli-tics in Contemporary China Script 20:2-3 (Winter/Spring and Summer taries on Tiananmen, see Pauline Chen, (Durham, NC: Duke University Press, 2001), 2001), pp. 77–93; Jenny Kwok Wah Lau, “Screening History: New Documentaries on pp. 315–348. “Globalization and Youthful Subculture: The the Tiananmen Events in China,” Cineaste 18. For a detailed analysis of the ﬁlm, see Chris Chinese Sixth-Generation Films at the Dawn 22:1 (Winter 1996), p. 18ff. http://www.lib. Berry, “Staging Gay Life in China: EAST of the New Century,” Jenny Kwok Wah Lau, berkeley.edu/MRC/Tianamen.html . PALACE, WEST PALACE,” JUMP CUT No. 42 ed., Multiple Modernities: Cinemas and Pop- 21. Ian Buruma, Bad Elements: Chinese Rebels (December 1998), pp. 84–89. ular Media in Transcultural East Asia (Philade- from Los Angeles to Beijing (NY: Random 19. For more on ﬁlms from China’s Sixth Gener- lphia: Temple University Press, 2003), House, Vintage, 2001), p. 112.

Toronto Exhibition Commemorates Tiananmen

Twenty-four artists from Canada, mainland China, Hong Kong and the United States have contributed works to an exhibition entitled “Echoes after the Storm,” paying tribute to the martyrs of Tiananmen Square. A portion of the works were displayed in Toronto in April and May in an exhibition organized by the Toronto Association for Democracy in China (TADC). The Mayor of Toronto, David Miller, presided at the opening of the exhibition, which was dedicated to “the children of China.” The exhibition also included photos documenting the tragic events of 1989, as well as the activities of the TADC. In its introduction to the exhibition, the TADC noted that after 15 years, “while television images may have faded, the experience and memories that burned deep within people’s hearts have not.” As a result of the passage of time, “These are works no longer reactive in nature; there has been time for reﬂection, for stillness, and from out of that maturing stillness have come these echoes which may surely resonate within us all.” (Materials contributed by Dick Chan and Cheuk Kwan in Toronto)

Toronto Mayor at the exhibition opening Cheung-sang Ma, “Declaration at the Point of the Bayonet”

The Big Hunger Strike Anonymous, “Crushed”