DOCSLIB.ORG

Replace This with the Actual Title Using All Caps

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Replace This with the Actual Title Using All Caps SIGNIFYING THE LOCAL: MEDIA PRODUCTIONS RENDERED IN LOCAL LANGUAGES IN MAINLAND CHINA SINCE 2000 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Jin Liu August 2008 © 2008 Jin Liu SIGNIFYING THE LOCAL: MEDIA PRODUCTIONS RENDERED IN LOCAL LANGUAGES IN MAINLAND CHINA SINCE 2000 Jin Liu, Ph. D. Cornell University 2008 My dissertation examines recent cultural productions rendered in local languages in the fields of television, film, fiction, popular music, and the Internet in mainland China since 2000, when the new national language law prescribed the standard Putonghua Mandarin as the principal language for broadcast media and movies. My dissertation sets out to examine this unsettled tension and to explore the rhetorical use of local language in different fields of cultural production. In television, local language functions as a humorous and satirical mechanism to evoke laughter that can foster a sense of local community and assert the local as the site of distinctive cultural production. In film and fiction, local language serves as an important marker of marginality, allowing filmmakers and writers rhetorically to position themselves in the margins to criticize the center and to repudiate the ideologies of modernism. In popular music, increasingly mediated by the Internet, local language has been explored by the urban educated youth to articulate a distinct youth identity in their negotiation with a globalizing and cosmopolitan culture. Drawing on cultural and literary theories, media studies, sociolinguistics, and dialectology, my interdisciplinary research focuses its analysis on many important but overlooked issues. I explore at length the rhetorical use of local languages to represent “the marginal and the unassimilated” in the underground and independent films of Jia Zhangke and others; I apply Bakhtin’s theory of folk humor to the ambiguous laughter evoked by Zhao Benshan’s comic sketches that are deeply rooted in the Northeast folk performing art Errenzhuan; I explain how the laughter wrought through the presence of local language in the regional TV shows can help foster a sense of local community. My research on the significance of locality also contributes to the study of globalization. If globalization is seen as homogenization and centralization, the local language texts assert the value of pluralism and diversity, and at the same time resist the dominance of both global and national cultural colonization. The burgeoning regional television shows rendered in local languages and the proliferation of the use of local languages on the Internet attest to the urgency of re-imagining a distinct local community for the local inhabitants in the increasing uncertainty of defining locality. Both the global, national cultures and the traditional, indigenous cultural resources are appropriated for self-definition and self-development. On the dialectics of the global and the local, the global and the local do not pose as cultural polarities, but are interpenetrating, interacting, and mutually signifying. BIOGRAPHICAL SKETCH Jin Liu got her B.A. and M.A. in Chinese Linguistics respectively in 1997 and 2000 in the Department of Chinese Languages and Literature at Peking University in the People’s Republic of China. She pursued her Ph.D. degree in East Asian Literature in the Department of Asian Studies at Cornell University from 2000 to 2008. She will become an assistant professor of Chinese at the Georgia Institute of Technology in the fall 2008. iii to Zhaoqin 照钦 and Ningning 宁宁 iv ACKNOWLEDGMENTS I am grateful to Professor Edward Gunn. It was his book on this topic that first sparkled my interest in this area of study and inspired me to undertake this dissertation research. My deep gratitude to him for his unfailing interest in and continued encouragement to my research, his super-vision in directing my attention to important theories and sources, his scrupulous reading and meticulous editing of all of the manuscript in several drafts, his incisive and invaluable comments, as well as his step- by-step guidance in my different stages of writing. I am also indebted to Professor Sherman Cochran and Professor John Whitman for their thought-provoking courses, their consistent encouragement and support, and for introducing theories and scholarship in their fields that are related to my research. I would like to thank the East Asia Program at Cornell for providing me grants for my field trips in China. I would also like to express my gratitude to the many people who have provided assistance and support in my data collection in various locations. For underground films, many thanks to Wang Zhuoyi, Cheng Kai, Zhang Yaxuan, Gan Xiao’er, and other film scholars and directors in Beijing. For the television, my special thanks to Xu Ting and Zhang Jianmin in Hangzhou, Xu Tao, Zhang Liu, Zhang Peng, and Tian Yigui in Chongqing, Zha Zhengxian in Shanghai, and Xu Zhiqiang in Shandong. I sincerely appreciate their generously sharing opinions and providing me first-hand, insider information. Finally, the most attentive love, support, and constant “pushing” from my husband Zhaoqin Meng have been crucial to the writing and completion of this dissertation. My now five-year-old daughter Michelle (Ningning) has also been very understanding to tolerate her mom who cannot spend many weekends playing with her. This dissertation is dedicated to them and our loving families in China. v TABLE OF CONTENTS Biographical Sketch iii Dedication iv Acknowledgments v List of Tables vii Introduction 1 Chapter 1 An Overview of Television Series Productions since 2000 12 Chapter 2 Performativity in Dubbing Films in Local Languages 37 Chapter 3 Empowering Local Community: TV News Talk Shows in Local Languages 60 Chapter 4 Ambivalent Laughter: Comic Sketches in CCTV’s “Spring Festival Eve Gala” 79 Chapter 5 Popular Music and Local Youth Identity in the Age of the Internet 105 Chapter 6 The Rhetoric of Local Languages as the Marginal: Chinese Underground and Independent Films by Jia Zhangke and others 142 Chapter 7 The Unassimilated Voice Continued in Recent Fiction in Local Languages 173 Conclusion 205 Visual and Audio Sources 213 Bibliography 217 vi LIST OF TABLES Table 1 A Dubbing Clip in the Sichuan Mandarin Version of Tom and Jerry 49 Table 2 TV News Talk Shows in Local Languages as of 2005 66 Table 3 Intonation Variations in the Comic Sketches in the Galas 87 vii INTRODUCTION For years, the central government in Mainland China has been promoting the standard Putonghua Mandarin (common speech Mandarin) as the official national language, the principal language for mass media and school education. Those subnational local languages, dialects, 1 or fangyan (―regional speech‖) in Chinese have been thus subordinated and suppressed in this project of building a modern, national culture. On October 31, 2000, the Beijing government promulgated the first law on language and writing, the Law of the People‘s Republic of China on the Use of Chinese Languages and Chinese Characters (Zhonghua renmin gonghegong guojia tongyong yuyan wenzifa), effective from January 1, 2001. As the law prescribes, Putonghua Mandarin is the principal language in broadcast radio and television, and movies (Articles 12 and 14). Local languages are strongly discouraged in mass media, and their use is limited to a few occasions (Article 16). However, the use of local language in mass media didn‘t disappear with the new regulations. Instead, the new millennium witnesses an expanding use of local language in mass media and literature. In the television field, a variety of television shows and genres rendered in local languages are burgeoning: the news talk shows in which news is narrated in local language rather than broadcast in the standard Mandarin, the programs of dubbing films in local languages, the so-called lanmuju (column docudrama) programs that cast nonprofessional, local residents and tell short stories about their ordinary lives. In the film field, Jia Zhangke‘s ―Hometown Trilogy,‖ largely in Shanxi Mandarin, ushered in a wave of underground and independent films employing local languages. Besides 1 The controversy over the relationship between dialect and language is a global and often politicized problem. This study will mainly use the term of ―local languages‖ for fangyan. For a historical study of standard languages and dialects in the context of nation building, see Hobsbawm (1992: 51-63). For the terminological dilemma faced in the Chinese linguistic situation, see DeFrancis (1984: 55-57). 1 underground films, increasing numbers of studio productions, shown in public cinema, are rendered in local languages. Among the cultivation of local languages on the Internet are rap songs using local languages as the rhythmic patois and aided by Flash cyber-technology, so-called standard tests on local-language competence, local- language texts parodying Chinese characters, blogs employing local slang and expressions, and downloadable cell-phone ringtones recorded in local languages. Finally, in the fiction field, there has been a growing conscious awareness of local language among writers. A number of established writers, who used to stick to the standard Mandarin writing style, now experiment with writing novels in their native local languages. Such a profusion of media use of local language has caused considerable concern among the authorities. The State Administration of Radio, Film, and Television (SARFT) has been issuing or reiterating regulations, more often than before, to contain the media use of local language. However, as the entertaining and the commercial value of local language have been rediscovered, the tension between the state and capital is intensified. Almost all the news talk shows rendered in local languages topped the local audience ratings, higher than Mandarin-speaking news program in the local market. Similarly, local-language dubbing programs and videos, albums of local-language rap, and local-language ringing tones have also created substantial commercial profit in local television, audio-video, and/or telecommunications markets.
Load more

Recommended publications
  • Online Corruption-Reporting, Internet Censorship, and the Limits of Responsive Authoritarianism
    Online Corruption-Reporting, Internet Censorship, and the Limits of Responsive Authoritarianism by Jack Hoskins BA, University of Victoria, 2015 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of History © Jack Hoskins, 2017 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Online Corruption Reporting, Internet Censorship, and the Limits of Responsive Authoritarianism by Jack Hoskins BA, University of Victoria, 2015 Supervisory Committee Dr. Guoguang Wu (Department of History) Supervisor Dr. Colin Bennett (Department of Political Science) Outside Member iii Abstract This thesis traces the development of the Chinese government’s attempts to solicit corruption reports from citizens via online platforms such as websites and smartphone applications. It argues that this endeavour has proven largely unsuccessful, and what success it has enjoyed is not sustainable. The reason for this failure is that prospective complainants are offered little incentive to report corruption via official channels. Complaints on social media require less effort and are more likely to lead to investigations than complaints delivered straight to the government, though neither channel is particularly effective. The regime’s concern for social stability has led to widespread censorship of corruption discussion on social media, as well as a slew of laws and regulations banning the behaviour. Though it is difficult to predict what the long- term results of these policies will be, it seems likely that the regime’s ability to collect corruption data will remain limited.
    [Show full text]
  • Rebuilding the Ancestral Temple and Hosting Daluo Heaven and Earth Prayer and Enlightenment Ceremony
    Cultural and Religious Studies, July 2020, Vol. 8, No. 7, 386-402 doi: 10.17265/2328-2177/2020.07.002 D DAVID PUBLISHING Rebuilding the Ancestral Temple and Hosting Daluo Heaven and Earth Prayer and Enlightenment Ceremony Wu Hui-Chiao Ming Chuan University, Taiwan Kuo, Yeh-Tzu founded Taiwan’s Sung Shan Tsu Huei Temple in 1970. She organized more than 200 worshipers as a group named “Taiwan Tsu Huei Temple Queen Mother of the West Delegation to China to Worship at the Ancestral Temples” in 1990. At that time, the temple building of the Queen Mother Palace in Huishan of Gansu Province was in disrepair, and Temple Master Kuo, Yeh-Tzu made a vow to rebuild it. Rebuilding the ancestral temple began in 1992 and was completed in 1994. It was the first case of a Taiwan temple financing the rebuilding of a far-away Queen Mother Palace with its own donations. In addition, Sung Shan Tsu Huei Temple celebrated its 45th anniversary and hosted Yiwei Yuanheng Lizhen Daluo Tiandi Qingjiao (Momentous and Fortuitous Heaven and Earth Prayer Ceremony) in 2015. This is the most important and the grandest blessing ceremony of Taoism, a rare event for Taoism locally and abroad during this century. Those sacred rituals were replete with unprecedented grand wishes to propagate the belief in Queen Mother of the West. Stopping at nothing, Queen Mother’s love never ceases. Keywords: Sung Shan Tsu Huei Temple, Temple Master Kuo, Yeh-Tzu, Golden Mother of the Jade Pond, Daluo Tiandi Qingjiao (Daluo Heaven and Earth Prayer Ceremony) Introduction The main god, Golden Mother of the Jade Pond (Golden Mother), enshrined in Sung Shan Tsu Huei Temple, is the same as the Queen Mother of the West, the highest goddess of Taoism.
    [Show full text]
  • Submitted for the Phd Degree at the School of Oriental and African Studies, University of London
    THE CHINESE SHORT STORY IN 1979: AN INTERPRETATION BASED ON OFFICIAL AND NONOFFICIAL LITERARY JOURNALS DESMOND A. SKEEL Submitted for the PhD degree at the School of Oriental and African Studies, University of London 1995 ProQuest Number: 10731694 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731694 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 A b s t ra c t The short story has been an important genre in 20th century Chinese literature. By its very nature the short story affords the writer the opportunity to introduce swiftly any developments in ideology, theme or style. Scholars have interpreted Chinese fiction published during 1979 as indicative of a "change" in the development of 20th century Chinese literature. This study examines a number of short stories from 1979 in order to determine the extent of that "change". The first two chapters concern the establishment of a representative database and the adoption of viable methods of interpretation. An important, although much neglected, phenomenon in the make-up of 1979 literature are the works which appeared in so-called "nonofficial" journals.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s Permalink https://escholarship.org/uc/item/4h13x81f Author Kang, Kai Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Kai Kang March 2015 Dissertation Committee: Dr. Marguerite Waller, Chairperson Dr. Lan Duong Dr. Tamara Ho Copyright by Kai Kang 2015 The Dissertation of Kai Kang is approved: Committee Chairperson University of California, Riverside Acknowledgements My deepest gratitude is to my chair, Dr. Marguerite Waller who gave me freedom to explore my interested areas. Her advice and feedback helped me overcome many difficulties during the writing process. I am grateful to Dr. Lan Duong, who not only offered me much valuable feedback to my dissertation but also shared her job hunting experience with me. I would like to thank Dr Tamara Ho for her useful comments on my work. Finally, I would like to thank Dr. Mustafa Bal, the editor-in-chief of The Human, for having permitted me to use certain passages of my previously published article ―Inside/Outside the Nation-State: Screening Women and History in Song of the Exile and Woman, Demon, Human,‖ in my dissertation. iv ABSTRACT OF THE DISSERTATION Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s by Kai Kang Doctor of Philosophy, Graduate Program in Comparative Literature University of California, Riverside, March 2015 Dr.
    [Show full text]
  • The Zhuan Xupeople Were the Founders of Sanxingdui Culture and Earliest Inhabitants of South Asia
    E-Leader Bangkok 2018 The Zhuan XuPeople were the Founders of Sanxingdui Culture and Earliest Inhabitants of South Asia Soleilmavis Liu, Author, Board Member and Peace Sponsor Yantai, Shangdong, China Shanhaijing (Classic of Mountains and Seas) records many ancient groups of people (or tribes) in Neolithic China. The five biggest were: Zhuan Xu, Di Jun, Huang Di, Yan Di and Shao Hao.However, the Zhuan Xu People seemed to have disappeared when the Yellow and Chang-jiang river valleys developed into advanced Neolithic cultures. Where had the Zhuan Xu People gone? Abstract: Shanhaijing (Classic of Mountains and Seas) records many ancient groups of people in Neolithic China. The five biggest were: Zhuan Xu, Di Jun, Huang Di, Yan Di and Shao Hao. These were not only the names of individuals, but also the names of groups who regarded them as common male ancestors. These groups used to live in the Pamirs Plateau, later spread to other places of China and built their unique ancient cultures during the Neolithic Age. Shanhaijing reveals Zhuan Xu’s offspring lived near the Tibetan Plateau in their early time. They were the first who entered the Tibetan Plateau, but almost perished due to the great environment changes, later moved to the south. Some of them entered the Sichuan Basin and became the founders of Sanxingdui Culture. Some of them even moved to the south of the Tibetan Plateau, living near the sea. Modern archaeological discoveries have revealed the authenticity of Shanhaijing ’s records. Keywords: Shanhaijing; Neolithic China, Zhuan Xu, Sanxingdui, Ancient Chinese Civilization Introduction Shanhaijing (Classic of Mountains and Seas) records many ancient groups of people in Neolithic China.
    [Show full text]
  • Parte I €“ Dilema éTico Y Virtud
    Virtud y consecuencia en la literatura histórica y filosófica pre-Han y Han: el dilema ético en la filosofía y sociedad china César Guarde Paz ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos.
    [Show full text]
  • An Analysis of the Magical Beauty in One Hundred Years of Solitude and Its Influence on Chinese Literature
    Frontiers in Educational Research ISSN 2522-6398 Vol. 4, Issue 7: 56-61, DOI: 10.25236/FER.2021.040711 An Analysis of the Magical Beauty in One Hundred Years of Solitude and Its Influence on Chinese Literature Hui Han School of Foreign Language, Hubei University of Arts and Science, Xiangyang City, China Abstract: One Hundred Years of Solitude is the most representative work of magic realism in the literature created by Colombian writer Gabriel Garcia Marquez, and it is a dazzling pearl in magic realism literature. Marquez used magical techniques to describe the tortuous and legendary experiences of several generations of the Buendia family in the small town. Through the refraction of the magical realm, it indirectly reflects the history of Latin America and the cruel real life, and expresses people's desire for independence and stability. Compared with other Western literary schools, magic realism is one of the literary schools that have a profound influence on the development of modern and contemporary Chinese literature. This article mainly analyzes the magical beauty of One Hundred Years of Solitude and its influence on Chinese literature through magic realism. Keywords: magic realism, One Hundred Years of Solitude, root-seeking literature 1. Introduction Magic realism originated in Latin America. From the 1950s to the 1970s, Latin American literature had an amazing and explosive breakthrough. A series of masterpieces came out, and various literary schools came into being. Among the numerous literary schools, the most important is undoubtedly magic realism, which occupies a very important position in the contemporary world literary world. The publication of "One Hundred Years of Solitude" brought the literary creation of magic realism to the peak and caused an explosive sensation in the world literary world.
    [Show full text]
  • 0Ca60ed30ebe5571e9c604b661
    Mark Parascandola ONCE UPON A TIME IN SHANGHAI Cofounders: Taj Forer and Michael Itkoff Creative Director: Ursula Damm Copy Editors: Nancy Hubbard, Barbara Richard © 2019 Daylight Community Arts Foundation Photographs and text © 2019 by Mark Parascandola Once Upon a Time in Shanghai and Notes on the Locations © 2019 by Mark Parascandola Once Upon a Time in Shanghai: Images of a Film Industry in Transition © 2019 by Michael Berry All rights reserved. ISBN 978-1-942084-74-7 Printed by OFSET YAPIMEVI, Istanbul No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission in writing of copyright holders and of the publisher. Daylight Books E-mail: [email protected] Web: www.daylightbooks.org 4 5 ONCE UPON A TIME IN SHANGHAI: IMAGES OF A FILM INDUSTRY IN TRANSITION Michael Berry THE SOCIALIST PERIOD Once upon a time, the Chinese film industry was a state-run affair. From the late centers, even more screenings took place in auditoriums of various “work units,” 1940s well into the 1980s, Chinese cinema represented the epitome of “national as well as open air screenings in many rural areas. Admission was often free and cinema.” Films were produced by one of a handful of state-owned film studios— tickets were distributed to employees of various hospitals, factories, schools, and Changchun Film Studio, Beijing Film Studio, Shanghai Film Studio, Xi’an Film other work units. While these films were an important part of popular culture Studio, etc.—and the resulting films were dubbed in pitch-perfect Mandarin during the height of the socialist period, film was also a powerful tool for education Chinese, shot entirely on location in China by a local cast and crew, and produced and propaganda—in fact, one could argue that from 1949 (the founding of the almost exclusively for mainland Chinese film audiences.
    [Show full text]
  • 1St China Onscreen Biennial
    2012 1st China Onscreen Biennial LOS ANGELES 10.13 ~ 10.31 WASHINGTON, DC 10.26 ~ 11.11 Presented by CONTENTS Welcome 2 UCLA Confucius Institute in partnership with Features 4 Los Angeles 1st China Onscreen UCLA Film & Television Archive All Apologies Biennial Academy of Motion Picture Arts and Sciences Are We Really So Far from the Madhouse? Film at REDCAT Pomona College 2012 Beijing Flickers — Pop-Up Photography Exhibition and Film Seeding cross-cultural The Cremator dialogue through the The Ditch art of film Double Xposure Washington, DC Feng Shui Freer and Sackler Galleries of the Smithsonian Institution Confucius Institute at George Mason University Lacuna — Opening Night Confucius Institute at the University of Maryland The Monkey King: Uproar in Heaven 3D Confucius Institute Painted Skin: The Resurrection at Mason 乔治梅森大学 孔子学院 Sauna on Moon Three Sisters The 2012 inaugural COB has been made possible with Shorts 17 generous support from the following Program Sponsors Stephen Lesser The People’s Secretary UCLA Center for Chinese Studies Shanghai Strangers — Opening Night UCLA Center for Global Management (CGM) UCLA Center for Management of Enterprise in Media, Entertainment and Sports (MEMES) Some Actions Which Haven’t Been Defined Yet in the Revolution Shanghai Jiao Tong University Chinatown Business Improvement District Mandarin Plaza Panel Discussion 18 Lois Lambert of the Lois Lambert Gallery Film As Culture | Culture in Film Queer China Onscreen 19 Our Story: 10 Years of Guerrilla Warfare of the Beijing Queer Film Festival and
    [Show full text]
  • China's Sports Heroes: Nationalism, Patriotism, and Gold Medal
    The International Journal of the History of Sport ISSN: 0952-3367 (Print) 1743-9035 (Online) Journal homepage: https://www.tandfonline.com/loi/fhsp20 China’s Sports Heroes: Nationalism, Patriotism, and Gold Medal Lu Zhouxiang & Fan Hong To cite this article: Lu Zhouxiang & Fan Hong (2019) China’s Sports Heroes: Nationalism, Patriotism, and Gold Medal, The International Journal of the History of Sport, 36:7-8, 748-763, DOI: 10.1080/09523367.2019.1657839 To link to this article: https://doi.org/10.1080/09523367.2019.1657839 Published online: 30 Sep 2019. Submit your article to this journal Article views: 268 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=fhsp20 THE INTERNATIONAL JOURNAL OF THE HISTORY OF SPORT 2019, VOL. 36, NOS. 7–8, 748–763 https://doi.org/10.1080/09523367.2019.1657839 China’s Sports Heroes: Nationalism, Patriotism, and Gold Medal Lu Zhouxianga and Fan Hongb aSchool of Modern Languages, Literatures and Cultures, National University of Ireland, Maynooth, Ireland; bThe University of Bangor, Bangor, UK ABSTRACT KEYWORDS Sport has been of great importance to the construction of China; hero; politics; Chinese national consciousness during the past century. This art- nationalism; icle examines how China’s sport celebrities have played their part sports patriotism in nation building and identity construction. It points out that Chinese athletes’ participation in international sporting events in the first half of the twentieth century demonstrated China’s motivation to stay engaged with the world, and therefore led to their being regarded as national heroes.
    [Show full text]
  • Chinese Public Diplomacy: the Rise of the Confucius Institute / Falk Hartig
    Chinese Public Diplomacy This book presents the first comprehensive analysis of Confucius Institutes (CIs), situating them as a tool of public diplomacy in the broader context of China’s foreign affairs. The study establishes the concept of public diplomacy as the theoretical framework for analysing CIs. By applying this frame to in- depth case studies of CIs in Europe and Oceania, it provides in-depth knowledge of the structure and organisation of CIs, their activities and audiences, as well as problems, chal- lenges and potentials. In addition to examining CIs as the most prominent and most controversial tool of China’s charm offensive, this book also explains what the structural configuration of these Institutes can tell us about China’s under- standing of and approaches towards public diplomacy. The study demonstrates that, in contrast to their international counterparts, CIs are normally organised as joint ventures between international and Chinese partners in the field of educa- tion or cultural exchange. From this unique setting a more fundamental observa- tion can be made, namely China’s willingness to engage and cooperate with foreigners in the context of public diplomacy. Overall, the author argues that by utilising the current global fascination with Chinese language and culture, the Chinese government has found interested and willing international partners to co- finance the CIs and thus partially fund China’s international charm offensive. This book will be of much interest to students of public diplomacy, Chinese politics, foreign policy and international relations in general. Falk Hartig is a post-doctoral researcher at Goethe University, Frankfurt, Germany, and has a PhD in Media & Communication from Queensland Univer- sity of Technology, Australia.
    [Show full text]
  • Electric Shadows 2014
    BFI ANNOUNCES ELECTRIC SHADOWS 2014 AND A YEAR OF FILM COLLABORATION WITH CHINA TAKING BUSINESS, TRADE AND CULTURAL RELATIONS TO NEXT LEVEL Launching with special UK visit from China’s most popular film director Feng Xiaogang in February EmbargoeD until 1pm, MonDay 20th January 2014, LONDON, BFI SOUTHBANK Prime Minister David Cameron’s highly successful trade delegation to China in December 2013 with Culture Secretary Maria Miller included film for the first time and was represented by BFI CEO Amanda Nevill. Following the trip, during which a landmark film Co-Production Treaty was agreed, the BFI today announces a year of business, trade, creative and cultural collaborations between the UK and China. BFI specific activity, entitled Electric Shadows (the Chinese term for movies or "dian ying"), will encompass the BFI’s full range of exhibition, archive, digital, education, theatrical and DVD distribution and publishing initiatives, opening up previously hard to see Chinese cinema to UK audiences and making UK film accessible to what will soon become the world’s biggest box office nation. The BFI is working alongside a range of key strategic partners throughout the year including the British Council, DCMS, UKTI and the GREAT Britain Campaign. The ambitious programme was unveiled today at the BFI’s final Film Forever Roadshow (One Year On) at BFI Southbank, London, as part of the BFI’s International Strategy, in which China was presented as a key priority territory. Designed to grow mutual economic and cultural benefits for UK and Chinese film, Electric Shadows starts with a rare UK visit in February from China’s most successful and renowned film director Feng Xiaogang, hosted by the BFI.
    [Show full text]