DOCSLIB.ORG

The Representation of Youth Dreams in Chinese Cinema Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Representation of Youth Dreams in Chinese Cinema Thesis Cinematic History and Multi-Subcultural Analysis: The Representation of Youth Dreams in Chinese Cinema Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Sheng Qu, M.A. Graduate Program in East Asian Studies The Ohio State University 2014 Thesis Committee: Kirk Denton, Advisor Mark Bender Namiko Kunimoto Copyright by Sheng Qu 2014 Abstract The term dream (meng) may be one of the most frequently used terms in Chinese mass media today. Nowhere has the modern been as intimately connected with young people as it has been in China. As a historical testimony, Chinese film has long paid close attention to images of young people and their dreams. Despite China’s elaborate film censorship system, commercial film, as a type of new cultural production in the market economy, has a degree of freedom to express their individual understandings of the real dreams of Chinese youth, which are not always in harmony with the official “China dream”. Against this background, this thesis explores the representation of youth dreams in Chinese cinema from two perspectives, cinematic history and multi-subcultural analysis. First, inheriting the academic tradition of historical analysis from western academia, I analyze the image of youth dreams in the history of Chinese film and indicate new commercialized trends of cinematic representation of Chinese youth dreams. Second, I attempt to establish a multi-subcultural framework, consisting of generational, structural, and intersectional models of subcultural theories. By applying the framework, the thesis takes the film series Tiny Times as a case to examine how current Chinese cinema represents the image of Chinese young people’s dreams, considering their relationships with parents, peers, and lovers. ii Dedication Dedicated to my family 献给我的家人 iii Acknowledgments I would like to express my sincere gratitude to my advisor, Dr. Kirk Denton, for his constant support and insightful advice. Without the invaluable help I got from him, the completion of this thesis would not have been possible. I am grateful to Dr. Namiko Kunimoto, for her meticulous feedback and suggestions to my thesis. I also wish to thank Dr. Mark Bender and Dr. Heather Inwood, who taught me much about how to conduct academic researches. Last but not least, my deep gratitude goes to my parents for their eternal understanding and love. All of you have helped make this thesis possible. iv Vita 2001-2005......................................Hailar No.2 High School, Inner Mongolia, China 2005-2009...........................B.A. Photography, Communication University of China 2009-2011............M.A. Broadcast Journalism, Communication University of China Fields of Study Major Field: East Asian Studies v Table of Contents Abstract .............................................................................................................................. ii Dedication .........................................................................................................................iii Acknowledgments ............................................................................................................iv Vita ......................................................................................................................................v List of Figures .................................................................................................................viii Chapter 1: Introduction .......................................................................................................1 1.1. Literature Review .......................................................................................................4 1.2. Multi-Subcultural Framework on Contemporary Chinese Youth Studies..................8 Chapter 2: Locating Youth Dreams in the History of Chinese Film.................................22 2.1. Destruction of Youth Dreams (1930s and 1940s).....................................................23 2.2. Revolutionary Youth Dreams (1950s and mid-1970s) ............................................26 2.3. Renaissance of Youth Dreams (mid-1970s and 1980s)............................................28 2.4. Crisis of Youth Dreams (1990s and 2000s) .............................................................31 2.5. Commercialization of Youth Dreams (2010--present) ........................................... 34 Chapter 3: A Case Analysis on Tiny Times ......................................................................43 3.1.Guo Jingming and Tiny Times...................................................................................44 3.2.Generational Analysis: Post-80s............................................................................... 47 3.3.Structural Analysis: Rich Second Generation ...........................................................52 3.4.Intersectional Analysis: White-Rich-Beautiful Ladies............................................. 57 vi Chapter 4: Conclusion ......................................................................................................63 Filmography ......................................................................................................................67 Glossary ............................................................................................................................69 References......................................................................................................................... 72 vii List of Figures Figure 1: Multi-Subcultural Analytic Framework ............................................................19 viii Chapter 1 Introduction The word dream (meng) may be one of the most frequently used terms in Chinese mass media today, a fashion that can be attributed to Xi Jinping, who became the President of China in 2012 and who often uses the term “China dream” (Zhongguo meng) to summarize the future vision of “the great rejuvenation of the Chinese nation.”1 As an ideological slogan to describe China’s future, the China dream is bound to be inextricably linked with contemporary Chinese young people, the future leaders of China. The context of present Chinese mainstream propaganda describes that the personal ambitions of the younger generations should be combined with the dreams of the nation at large. An example related to the medium of television, which is highly infused with the values of official state ideology, reflects that the situation constructed by the notion of the China dream is a national myth. Beginning in May 2013, Shanghai Dragon Television, a state-run provincial station, broadcast Chinese Idol after buying the rights to the show from British Fremantle Media. Although Chinese Idol is still its official English name due to production principles of the original edition, the Chinese production team now uses Voices of the China Dream (Zhongguo meng zhi sheng) as the Chinese name of the reality show that targets a youth audience. Owing to the state backing of Shanghai Dragon Television, this process of renaming demonstrates, to a large extent, a sort of unconscious in Chinese mainstream 1 Since 1997, after the Chinese Communist Party's 15th National Party Congress,“the great rejuvenation of the Chinese nation (中华民族的伟大复兴)” was gradually adopted into official ideology. 1 ideology that is sensitive to the idea of idols. Concretely speaking, this unconscious has actively prohibited any form of idols from being launched upon society through its media, despite their attractiveness. This means that, to say nothing of dissenters and politicians, present Chinese mainstream ideology is afraid of any personal heroism being portrayed in popular culture. Moreover, the title Voices of the China Dream attempts to cover up individual dreams, reattributing them to those of the nation. Against this background, any personal reasons for singing are relegated to the desire to sing the praises of the national dream. To increase attention for the final episode, the penultimate episode of the show’s first season became a gala entitled “Singing the China Dream, Praising the Builders,” in which Han Hong, a famous Tibetan singer and one of the show’s judges, sang a song called “Youth.” Such concepts as dream, nation, and youth have clearly been integrated into a nationalism myth of the “China dream” on the platform of official state media. As one of “the Communist Party's mouthpieces,”2 Chinese television is controlled by the State Administration of Press, Publication, Radio, Film and Television (SAPPRFT) and has certainly been central to the creation of the myth of the China dream, a myth that is accordance with the nationalism emphasized by Chinese mainstream ideology. Hence, in the medium of television, youth culture influenced by the national myth is bound to reflect the situation expected by the official mainstream rather than the diversified and complicated identities of real Chinese young people. By contrast, despite China’s elaborate film censorship system, commercial film, as a type of new cultural production in the market economy, does not assume the responsibility of being one of “the Communist Party’s mouthpieces.” As long as they do not radically resist the official 2 The phrase Communist Party's mouthpiece (党的喉舌) is used for describing the function of official state media by Chinese government. 2 ideology, filmmakers have a degree of freedom to express their individual understandings of the real dreams of Chinese youth,
Load more

Recommended publications
  • Automatic Identification of Noun Phrases Based on Statistics and Rules
    2010 5th International Conference on Computer Science and Education (ICCSE 2010) Hefei, China 24 - 27 August 2010 Pages 1 - 670 IEEE Catalog Number: CFP1089F-PRT ISBN: 978-1-4244-6002-1 1 / 3 TABLE OF TECHNICAL PROGRAMS Parallel Oral Presentation Sessions WeM1 Meeting Room 1, 1/F Artificial Intelligence I 13:50 - 14:10 WeM2.2 Chair: Sun Binxuan Donghua Univ. Design of an Embedded Control and Acquisition System for Co-Chair: Wang Huabin Anhui Univ. Industrial Local Area Networks Based on ARM, pp. 35-39. Gan-ping Li Nanchang Univ. 13:30 - 13:50 WeM1.1 Automatic Identification of Noun Phrases Based on Statistics and 14:10 - 14:30 WeM2.3 Rules, pp. 1-5. Analysis of RCS Characteristic of Dihedral Corner and Triangular Shuicai Shi Info. Sci. & Tech. Univ.; Trihedral Corner Reflectors, pp. 40-43. Beijing TRS Info. Tech. Co., Ltd. Chengfan Li Shanghai Univ. Zhijie Liu Info. Sci. & Tech. Univ. Junjuan Zhao Shanghai Univ. Yuqin Li Info. Sci. & Tech. Univ.; Jingyuan Yin Shanghai Univ. Beijing TRS Info. Tech. Co., Ltd. Guifan Zhang China Earthquake Administration Xueqiang Lv Info. Sci. & Tech. Univ. Xinjian Shan China Earthquake Administration Beijing TRS Info. Tech. Co., Ltd. 14:30 - 14.50 WeM2.4 13:50 - 14:10 WeM1.2 Simulation of Gas Diffusion During Sudden Leakage on A New Approach of Random Forest for Multiclass Classification Block-scale, pp. 44-48. Problem, pp. 6-8. Jiang Huixian Fujian Normal Univ. Binxuan Sun Donghua Univ. Lin Guangfa Fujian Normal Univ. Jiarong Luo Donghua Univ. Huang Wanli Fujian Normal Univ. Shuangbao Shu Donghua Univ.
    [Show full text]
  • Jean Baudrillard
    The Mirror of Production by Jean Baudrillard Translated with "Introduction" by Mark Poster TELOS PRESS • ST'. LOUIS Published originally as Le Miroir de la Production. English translation copyright © 1975 by Telos Press. All rights reserved. ISBN : 0- 914386-06-9 Library of Congress : 74- 82994 Manufactured in the United States of America. TABLE OF CONTENTS Translator's Introduction 1 Preface 17 Chapter I: The' Concept of Labor 21 . Critique of Use Value and Labor Power 22 The Concrete Aspect of Labor : The "Dialectic" of Qu ality and Qu antity 25 Man's Double "Generic" Face 30 Ethic of Labor ; Esthetic of Play 33 Marx and the Hieroglyph of Value 41 Epistemology I : In the Shadow of Marxist Concepts 47 The Critique of Political Economy Is Basically Completed 50 Chapter II: Marxist Anthropology 53 and the Domination of Nature The Moral Philosophy of the Enlightenment 56 Lycurgus and Castration 60 Judaeo-Christian Anti-Physis 63 Epistemology II : Structural Limits of the Marxist Critique 65 Chapter III: Historical Materialism 69 and Primitive Societies Structural Causality and the Primitives 70 Surplus and Anti-Production 74 Magic and Labor 81 Epistemology III: Materialism and Ethnocentrism 84 Chapter IV: On the Archaic and Feudal Mode 93 The Slave 93 The Artisan 96 Epistemology IV : Marxism and Miscomprehension 106 Chapter V: Marxism and the System of Political Economy Ill A Euclidean Geometry of His tory? Ill The Third Phase of Political Economy 119 Contradiction and Subversion : The Displacement of the Political 129 The Economic as Ideology and Simulation Model 14 7 Marxist Theory and the Workers' Movement: The Concept of Class 15 2 Revolution as Finality : History in Suspense 160 The Radicality of Utopia 163 TRANS LA TOR'S INTRODUCTION For some time now many of us have harbored the knowledge or at least the Euspicion that Marxism is an inadequate perspective for the critical analysis of advanced society.
    [Show full text]
  • Qualitative Freedom
    Claus Dierksmeier Qualitative Freedom - Autonomy in Cosmopolitan Responsibility Translated by Richard Fincham Qualitative Freedom - Autonomy in Cosmopolitan Responsibility Claus Dierksmeier Qualitative Freedom - Autonomy in Cosmopolitan Responsibility Claus Dierksmeier Institute of Political Science University of Tübingen Tübingen, Baden-Württemberg, Germany Translated by Richard Fincham American University in Cairo New Cairo, Egypt Published in German by Published by Transcript Qualitative Freiheit – Selbstbestimmung in weltbürgerlicher Verantwortung, 2016. ISBN 978-3-030-04722-1 ISBN 978-3-030-04723-8 (eBook) https://doi.org/10.1007/978-3-030-04723-8 Library of Congress Control Number: 2018964905 © The Editor(s) (if applicable) and The Author(s) 2019. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence and indicate if changes were made. The images or other third party material in this book are included in the book’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the book’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
    [Show full text]
  • JUNE 2008 Tragic Earthquake Gives Rise to Unity and Hope Devastating Earthquake Which Nese.” This Is Child
    CHINAInsight Fostering Business and Cultural Harmony between China and the U.S. VOL. 7 NO. 6 www.chinainsight.info JUNE 2008 Tragic earthquake gives rise to unity and hope devastating earthquake which nese.” This is child. A teach- measured 8.0 on the Richter scale reminiscent of er gave his life hit Sichuan Province on May 12, Americans’ re- to protect four at 2:28 p.m. local time (May 11, sponse after the students. A A1:28 a.m. in Minnesota). As of May 21, the attacks of 9/11 homeless beg- region had experienced over 7,000 after- when people gar, Xu Chao shocks, some as strong as 6.0 on the Richter rallied to help in Nanjing, scale. The official report of victims of the victims of the Jiangsu prov- earthquake as of noon on May 21 was grim: terrorist attacks ince, returned and all Ameri- to a donation PASSAGE TO CHINA 41,353 dead, 274,683 injured, 32,666 miss- Pages 8 & 9 ing. Experts estimate that the death toll will cans became center numer- New Yorkers climb above 50,000. Not since 1976, when An earthquake survivor cooks outside rubble in ous times with P e o p l e an earthquake measuring 7.5 on the Richter Guangji Township (Getty Images) more money to scale hit Beijing, has an earthquake been so throughout Chi- help victims of deadly. (The 1976 earthquake claimed over na are donating the earthquake. 240,000 lives and is considered the deadliest time, money and resources to help earth- When asked why he donates his standard earthquake in modern history.) quake victims.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G.
    [Show full text]
  • Art, Politics, and Commerce in Chinese Cinema
    Art, Politics, and Commerce in Chinese Cinema edited by Ying Zhu and Stanley Rosen Hong Kong University Press 14/F Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong www.hkupress.org © Hong Kong University Press 2010 Hardcover ISBN 978-962-209-175-7 Paperback ISBN 978-962-209-176-4 All rights reserved. Copyright of extracts and photographs belongs to the original sources. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the copyright owners. Printed and bound by XXXXX, Hong Kong, China Contents List of Tables vii Acknowledgements ix List of Contributors xiii Introduction 1 Ying Zhu and Stanley Rosen Part 1 Film Industry: Local and Global Markets 15 1. The Evolution of Chinese Film as an Industry 17 Ying Zhu and Seio Nakajima 2. Chinese Cinema’s International Market 35 Stanley Rosen 3. American Films in China Prior to 1950 55 Zhiwei Xiao 4. Piracy and the DVD/VCD Market: Contradictions and Paradoxes 71 Shujen Wang Part 2 Film Politics: Genre and Reception 85 5. The Triumph of Cinema: Chinese Film Culture 87 from the 1960s to the 1980s Paul Clark vi Contents 6. The Martial Arts Film in Chinese Cinema: Historicism and the National 99 Stephen Teo 7. Chinese Animation Film: From Experimentation to Digitalization 111 John A. Lent and Ying Xu 8. Of Institutional Supervision and Individual Subjectivity: 127 The History and Current State of Chinese Documentary Yingjin Zhang Part 3 Film Art: Style and Authorship 143 9.
    [Show full text]
  • A World Without Thieves: Film Magic and Utopian Fantasies
    A World without Thieves: Film Magic and Utopian Fantasies Rujie Wang, College of Wooster Should we get serious about A World without Thieves (tian xia wu zei), with two highly skilled pickpockets, Wang Bo (played by Liu Dehua) and Wang Li (Liu Ruoying), risking their lives to protect both the innocence and the hard-earned money of an orphan and idiot who does not believe there are thieves in the world? The answer is yes, not because this film is a success in the popular entertainment industry but in spite of it. To Feng Xiaogang’s credit, the film allows the viewer to feel the pulse of contemporary Chinese cultural life and to express a deep anxiety about modernization. In other words, this production by Feng Xiaogang to ring in the year of the roster merits our critical attention because of its function as art to compensate for the harsh reality of a capitalist market economy driven by money, profit, greed, and individual entrepreneurial spirit, things of little value in the old ethical and religious traditions. The title is almost sinisterly ironic, considering the national problem of corruption and crime that often threatens to derail economic reform in China, although it may ring true for those optimists clinging tenaciously to the old moral ideals, from Confucians to communists, who have always cherished the utopia of a world without thieves. Even during the communist revolutions that redistributed wealth and property by violence and coercion, that utopian fantasy was never out of favor or discouraged; during the Cultural Revolution, people invented and bought whole-heartedly into the myth of Lei Feng (directed by Dong Yaoqi, 1963), a selfless PLA soldier and a paragon of socialist virtues, who wears socks with holes but manages to donate all his savings to the flood victims in a people’s commune.
    [Show full text]
  • Mainstream Cinema As a Tool for China's Soft Power
    Master’s Degree programme in Languages, Economics and Institutions of Asia and North Africa “Second Cycle (D.M. 270/2004)” Final Thesis Mainstream cinema as a tool for China’s soft power Supervisor Ch. Prof. Federico Alberto Greselin Assistant supervisor Ch. Prof. Tiziano Vescovi Graduand Alessia Forner Matriculation Number 846622 Academic Year 2017 / 2018 To the two stars that have guided me from above TABLE OF CONTENTS 1 Introduction 5 Chapter one: Soft power: a general overview and the beginning of China’s soft power era 7 1.1 Joseph Nye’s definition of soft power 7 1.2 Culture: the core of soft power 10 1.3 The entry of the concept of soft power in China and its translations 12 1.4 Hu Jintao’s speech at the 17th National Congress of the Communist Party of China and China’s first steps towards its soft power strategy 14 Chapter two: China’s focus on cultural soft power and the Chinese film industry 19 2.1 China’s investments in the film industry and films as a soft power resource 19 2.2 The situation of the Chinese film industry in the 1980s and 1990s: is Hollywood China’s lifeline? 26 2.3 Main melody films and the correlation with the China dream (( : taking the documentary Amazing China ()() and the film American Dreams in China (() as an example 32 2.4 Focus on the film Wolf Warrior II II) : a successful soft power strategy 56 Chapter three: Sino-US collaborations 65 3.1 Hollywood and China: same bed, different dreams 65 3.2 The different types of collaborations between China and Hollywood 69 3.3 Is China changing Hollywood? 78
    [Show full text]
  • International Seminar on Silk Roads: Roads of Dialogue
    INTERNATIONAL SEMINAR ON SILK ROADS: ROADS OF DIALOGUE MALACCA, MALAYSIA 4th January 1991 Organized by: Ministry of Culture, Arts and Tourism, Malaysia National University of Malaysia Ministry of Education, Malaysia Chief Minister Department. Malacca With the Cooperation of: 1 Recent Studies in China on Admiral Zheng He's Navigation Liu Yingsheng Nanjing University, China At the end of 15th century great Portuguese sailor Vasco Da Gama returned to Europe from India. In the history of navigation, the Portuguese discovery is the very beginning of the new era. But before the Portuguese came to the east the Pacific Ocean and Indian Ocean had already been a busy commercial region for a long time. Ships of China, Southeast Asia, Sub- continent, West Asia and East Africa had kept on coming and going from east to west and from west to east. Admiral Zheng He and his fleets’ navigation in the West Pacific Ocean and Indian Ocean in the early 15th century is one of greatest achievements in the history of Chinese navigation activities. In the period from the 3rd year of Yong Le 永乐 (1405) to the 8th year of Xuan De 宣 德 (1433) Zheng He sailed 7 times to Southeast Asia and in the Indian Ocean. His fleet was the biggest in the world at that time. It consisted of more than 200 ships and more than 27,800 sailors and soldiers. The study on Zheng He's navigation activity was begun at the beginning of the Qing Dynasty when Zhang Tingyu 张廷玉 and his colleagues compiled the biography of Zheng He of the Ming Shi in the 17th century.
    [Show full text]
  • The Construction of the Post-Socialist Urban Identity: China’S Reform and Drifting Urban Population Huimin Deng
    Global Film Cultures – peer-reviewed Cinergie – Il cinema e le altre arti. N.14 (2018) https://doi.org/10.6092/issn.2280-9481/8388 ISSN 2280-9481 The Construction of the Post-socialist Urban Identity: China’s Reform and Drifting Urban Population Huimin Deng Submitted: July 3, 2018 – Revised version: October 22, 2018 Accepted: November 6, 2018 – Published: December 31, 2018 Abstract In the transition from the socialist system to the postsocialist system since 1978, thousands of Chinese urban- to-rural migrant workers and students of socialist movements and urban laid-off workers of socialist state- owned enterprises were no longer safeguarded by Chinese government in terms of political status, job oppor- tunities, welfare, and living standard. Struggling for returning to cities and integrating into the competitory market economy become the living dilemma of the two urban groups respectively. This paper explores the images of those troubled urban figures within both the Chinese Sixth Generation cinema and the Chi- nese independent documentary. It aims at exposing Chinese urban people’s drifting experience within the postsocialist social context in relation to Chinese modern cinema. The spatial and ideological drifting of troubled urban people in postsocialist China, it shall argue, derives from the transition from the socialist class struggle to the postsocialist economy-oriented reform and from the socialist planned economy to the postsocialist market economy. Keywords: urban drifters; socialist movements; social reform; ideological transformation; spatial move- ment. Huimin Deng: University of St Andrews (United Kingdom) [email protected] Huimin Deng is a Ph.D. student at the Department of Film Studies of the University of St Andrews and is supervised by Prof.
    [Show full text]
  • Cambridge University Press 978-1-107-11853-9 — Disability in Contemporary China Sarah Dauncey Index More Information
    Cambridge University Press 978-1-107-11853-9 — Disability in Contemporary China Sarah Dauncey Index More Information Index 100 Reasons to Live (Huozhe de 100 ge liyou, possibility of, 3, 33 Qian Mindan), 172 provided through internal monologue, 93 risk and contradictory nature of, 94, 192 ‘A Corner in the Shade’ (Mei you taiyang de Ah Q, 116 jiaoluo, Shi Tiesheng), 112, 118–123 amputees, 17, 104, See also ‘The Amputee’; challenging discriminatory language, Wu Yunduo; Wu Zhizhong; Xu 119–120 Xuehui; Yin Shujun collective and individual anxiety, 119 An Angel with Broken Wings: In Conversation dehumanisation of disabled people, 119 with Life (Zhechi tianshi: yu shengming need for societal change, 133 duihua, Yin Shujun), 179 possibility of love, 121–123 animals, disabled people likened to, A Private Life (Siren shenghuo, Chen Ran), 99–100, 129 35 asexuality, 191 A Showdown with Death (Duijue sishen, Yin ‘At Middle Age’ (Ren dao zhongnian, Shen Shujun). See Yin Shujun Rong), 35 A Song of Triumph for Chairman Mao’s audience Proletarian Line on Public Health (Mao challenged to change attitudes and zhuxi wuchanjieji weisheng luxian de behaviours, 32, 112, 158 shengli kaige), 55–56, 91–92 disabled and non-disabled, 94, 191 A Tragic Life (Beiju shengya, BaiWei), 35 expectations and assumptions of, 109, A Treasury of Inspiration (Shouhuo gandong, 148 Wang Xinxian), 161 for revolutionary propaganda, 37–38, able-bodied gaze 45–46, 60 and the female body, 35, 130 for self-help guidance and expertise, othering of the disabled body, 100, 107, 167–171 129 for talent shows, 153–155 superiority and normalcy, 109, 192 for the ‘socialist spiritual civilisation’ ‘able-bodied people’ (jianquanren), 77, 144, campaign, 65, 68, 72–74 150, 162, See also ‘normal people’ invited to ‘stare’,71 ‘robust’ (jianquan) citizenry, 21 reassured of their superiority and able-bodiedness and able-mindedness, 17, ‘normalcy’, 94, 130, 132 19, 27, 94, 109 Auntie.
    [Show full text]
  • ABSTRACT Title of Document: the ANTI-CONFUCIAN CAMPAIGN
    ABSTRACT Title of Document: THE ANTI-CONFUCIAN CAMPAIGN DURING THE CULTURAL REVOLUTION, AUGUST 1966-JANUARY 1967 Zehao Zhou, Doctor of Philosophy, 2011 Directed By: Professor James Gao, Department of History This dissertation examines the attacks on the Three Kong Sites (Confucius Temple, Confucius Mansion, Confucius Cemetery) in Confucius’s birthplace Qufu, Shandong Province at the start of the Cultural Revolution. During the height of the campaign against the Four Olds in August 1966, Qufu’s local Red Guards attempted to raid the Three Kong Sites but failed. In November 1966, Beijing Red Guards came to Qufu and succeeded in attacking the Three Kong Sites and leveling Confucius’s tomb. In January 1967, Qufu peasants thoroughly plundered the Confucius Cemetery for buried treasures. This case study takes into consideration all related participants and circumstances and explores the complicated events that interwove dictatorship with anarchy, physical violence with ideological abuse, party conspiracy with mass mobilization, cultural destruction with revolutionary indo ctrination, ideological vandalism with acquisitive vandalism, and state violence with popular violence. This study argues that the violence against the Three Kong Sites was not a typical episode of the campaign against the Four Olds with outside Red Guards as the principal actors but a complex process involving multiple players, intraparty strife, Red Guard factionalism, bureaucratic plight, peasant opportunism, social ecology, and ever- evolving state-society relations. This study also maintains that Qufu locals’ initial protection of the Three Kong Sites and resistance to the Red Guards were driven more by their bureaucratic obligations and self-interest rather than by their pride in their cultural heritage.
    [Show full text]