The best safeguard against the novel coronavirus is the ability to voluntarily withdraw oneself from capitalism
What all these stories have in common is how unremarkable they are: this is contemporary global interchange at its most prosaic. Travel to and from countless other cities across Asia and Europe for business meetings and tourism follows a very similar pattern. Whereas the SARS outbreak was blamed on the peculiar, outlandish diets of the Cantonese people and then traveled through the elite cosmopolitan links between major Asian cities, the so-called “Wuhan virus” points to the utterly mundane way that countless nodal points around the world, including “second-tier” Chinese cities, are interwoven more tightly than ever across global circuits of commerce, education, and tourism.
What the film’s central conflict turns upon is not simply strife between rich and poor, Asian and American, but rather the friction between different forms of accumulation—landed rents, financial interest, industrial profits, et cetera—that are historical in character and can be located throughout the diasporic division of labor that has evolved across Asia the past half-century. These tensions are a palpable reality in everyday life in Asia today, bubbling up periodically in the tabloid press, from the Kyoto locals who deride the recent influx of Chinese tourists as “pollution” to Hong Kong TV commercials in which Chinese actors wear dark makeup to portray Filipina domestic workers. Such economic racism is perhaps the clearest marker of all of modern Asia’s shared resemblances with Europe and America.