“Brand China” on the World Stage Jingju, the Olympics, and Globalization Megan Evans

Home , Carrie Gracie, Chen Hong (actress), Forever Enthralled, Gillian Chung, Leon Lai, Music of China

On the evening of 16 March 2009, excerpts from the jingju (Beijing/Peking opera) play Red Cliff flashed on giant LED screens in New York’s Times Square. Cao Cao, one of jingju’s most famous villains, played out his treacherous but ultimately inept scheme above the enormous neon NASDAQ billboard displaying the rockiest financial news since the Great Depression. The broadcast was not a jab from China at greedy American financiers, but was organized by the National Performing Arts Center in Beijing to mark its one-year anniversary (Gondo 2009). Times Square viewers saw footage of famous traditional jingju characters in a reworked production aspiring to the scale of Western grand opera. The Times Square broadcast followed less than a year after the Beijing Olympics opening ceremonies where the sole jingju-related performance featured jingju music and four small puppets that replaced jingju’s live actors, in

Figure 1. Jingju actor Yu Kuizhi as Zhuge Liang in Beijing’s National Centre of Performing Arts production of the “newly written historical” jingju play Red Cliff, broadcast in New York’s Times Square on 16 March 2009. (Xinhua News Agency/Shen Hong)

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114 Megan Evans integration ofdisparateperformanceelements(Tianjin 1995:12–13). jingju videotookitsplaceintheemerging21st-centurycampaignfor “Brand China.” and contemporaryelements. Framedbyiconicimagesofthemultinationalmarketeconomy, the China’s 21st-centuryculturalbrandingthatincreasinglyemphasizesasynthesisoftraditional trasting deploymentsofjingjuaresymptomaticthecontinuinginternaldebateconcerning synthesis oftraditionandmodernity. century iterationsofculturalBrandChinaasaninternationallylegiblesymbolthesuccessful izenship simultaneously” (2007:277). Mei’siconicstatushasbeenrepeatedlyinvokedin21st- that colonialmodernityimposed, toembodybothauthentictraditionandmodernnationalcit- national subjecttoactivelyovercomeandmasterthealmostinsurmountablecontradictions Mei’s 1930UStour: “For abriefmomentMei’stourprovedthatitwaspossibleforChinese Joshua Goldstein, thedrivetorepositionjingjuasChina’snationalculturalbrandculminatedin firming jingju’sstatusathomeasanationallyrepresentativeperformanceform. Accordingto world toagloriousexampleof20th-centuryChineseculturalexpression, simultaneouslycon- States andRussiaofferingacarefullyconstructedprogramdesignedtointroducethe Western jingju actorMeiLanfang, aself-appointedculturalambassador, triumphantlytouredtheUnited lar impulseshavecometogethertoforgea “modern” Chinesenationalidentity. Inthe1930s, nent formofxiqu than 300regionalformsofChineseopera)andparticularlyjingju(thenationallypromi- optimism tothebrutalityofCulturalRevolution, xiqu(theumbrellatermforthemore able tonegotiatethecomplex, oftenconflictingimpulsesBrandChinaconveys. an outmodedculturalcliché, jingjuisprovingaresilientmarkerofcontemporaryChinese-ness tributing toanemerging, internationallylegibleBrandChina. Though sometimesderidedas such astheimageofajingjufanintraditionalcostumeonMcDonald’stake-outbag, arecon- Thus bothdomesticofficiallycontrolledelementsandexternallydevisedcommercialindices, national andculturalidentity(Anderson2006:113–14; Appadurai 1996:54–55;Lee2003:73–75). facts ofpopularculturalproductionandofficiallyapprovednarrativesintheconstructions 23). Nowintheseconddecadeof21stcentury, weseetheconfluenceofdisseminatedarti- with theforceofmultinationalcorporatebrandrecognition(Lei2006:255;Mackerras2005:22– tinctions betweennationalandculturalidentities, connectinghomeanddiasporiccommunities tion threatentooverwhelmnationalidentity, traditionalperformingartshavebeenblurringdis- 2009). a hastilydevelopedfill-inforgiantpuppetsegmentcutduetotechnicaldifficulties(CCTV International cultural relevance Chinahasappeared andcommercial in Theatre viabilityincontemporary Research Chinese Theatre inBeijing. Arts Her tomaintainresearch experiments byxiquartists oncontinuing withmembersoftheJiangsuxiqu performance Province Jingju Company attheNational Academy of Zealand. She received herMFA andPhD from University ofHawai’i atManoa andhasstudiedChinese Megan Evans isaSenior Lecturer inthe Theatre Program at Victoria University of Wellington, New 2. 1. Synthesis (zonghe)isacoreaestheticprincipleofjingjuandappliesparticularlytotheartful In China’s20th-centurypassagefromRepublicanwarlordchaosthroughearlyCommunist practice because it suggests the linking of things that by their “nature” do not belong together (2009:399). Lichte’s cultures.” investigation of “interweaving She questions hybridity as a metaphor for intercultural theatre My choice to analyze Brand China in terms of “synthesis” instead of “hybridity” is in line with Erika Fischer- province (CCTV 2009). the segment were drawn more directly from a regional Jingju to accompany music the had deleted been segment, in despite the the running fact that visual markers in 1 A bigpresencein Times Square, yetalmostnothingattheBeijingOlympics:suchcon- and Asian Theatre Journal. [email protected] since thelate19thcentury)hasservedasanarenawhereofficialandpopu- xiqu (Chinese opera) form called 2 As theforcesofglobaliza- qinqiang, from Sha’anxi Brand China 115 arias in Company 5 significant con- works extolling works extolling Company funded by the Ming Dynasty predecessor) (jingju’s to create “model” jingju “model” to create 3 coproduced by Shanghai Kunju [Kunqu] Company coproduced by Shanghai Kunju [Kunqu] (one Pavilion two later productions of Peony Ironically, to represent Chinese identity, the perception of purity identity, to represent Chinese 4 “definitively dead” (Huot 2000:76). Fearing the art form’s extinction, Fearing the art form’s extinction, (Huot 2000:76). “definitively dead” - in favor of mas culture was repressed Traditional center stage. reform took Society of New York, the other by the Shanghai Kunqu the other by the York, Society of New Mudan ting (Peony Pavilion) cancelation has diminished markedly in the last decade. Xiqu, and particularly jingju, and particularly jingju, Xiqu, last decade. cancelation has diminished markedly in the

Peony Peony

In its various [intercultural] contact zones, Chinese opera is often figured as a lotus flower Chinese opera is contact zones, In its various [intercultural] and used to represent a mud] resisting hybridity and assimilation [rising out of putrid without the threat of contamina- Yet and stable Chinese identity. pure, intrinsic, unique, (2006:4) not be envisioned or celebrated. tion such purity could the Shanghai Ministry of to at least a perception of contamination, testifying In 1998, [For more on the legacy of Jiang Qing see the article by Yawen Ludden in this issue.—Ed.] this in Ludden Yawen articlethe see Qing by Jiang of legacy the on more [For financed were constructed been had but China in production original the for costumes and set elaborate The origi- the allowed negotiations Subsequent York. New to returned eventually were so and Center, Lincoln by China performersaround other from Twelve participateto musician leading and female lead restaging. nal the in cit- Chinese instrumentalistsand actors additional 33 were who by completed was which cast, the to added were of “control” and “ownership” around debate extensive provoked restaging The States. United the living in izens 1999). Faison 2002; Rolston 1999a; (Oestreich culture Chinese traditional on building name, language English official the in Opera” “Peking as jingju translate to continues company The tour. Lanfang’s Mei by established was that branding to akin recognition international During the Cultural Revolution (1966–1976), when China turned violently inward, the inward, China turned violently when (1966–1976), Cultural Revolution During the Like other traditional art forms around the world pressured by film and television, jingju and world pressured by film and television, Like other traditional art forms around the 3. 4. 5. and New York’s Lincoln Center on the eve of its departure for the United States. Shanghai Lincoln Center on the eve of its departure for the United States. York’s and New York–based director Chen Shizheng New Ministry of Culture officials accused Chinese-born, elements as well as other inauthentic pornographic” superstitious and “feudal, of including the internationally renowned performance venue of in the production making it unworthy of 1998). Wichmann-Walczak 1999b; Jain 2002; Lincoln Center (Melvin 1999; see also Oestreich inde- of Chen’s production was staged a year later, A reworked and highly acclaimed version without Chinese government approval (Oestreich pendent of Shanghai Kunju Company and 1999b; Faison 1999; Cameron 1999). Communist ideals of class struggle and resistance to foreign oppression (Clark 2008:10–43). In (Clark 2008:10–43). foreign oppression and resistance to ideals of class struggle Communist the openness, economy and comparative to a market post-Mao transition the Deng Xiaoping Nevertheless, charged. been less politically and xiqu has between cultural identity relationship According to cultural identity. recognized marker of Chinese xiqu remains an internationally Daphne Pi-Wei Lei: deployed Although xiqu is effectively masks actual relation to the potential for contamination also that Lei observes in itself. “lotus flower” of the xiqu flict and contamination of the kunqu production Culture canceled an 18-hour-long masterpiece opened its impressive $14,000,000 Mei Lanfang Grand Theatre (CPG 2007), and one of Theatre (CPG 2007), opened its impressive $14,000,000 Mei Lanfang Grand battle over xiqu battle over Qing, the actress Jiang led by Mao’s wife, sive efforts, by the Kunqu has been integrated with a diverse range of contemporary elements to represent Brand China. of contemporary elements to represent Brand China. has been integrated with a diverse range One scholar performers and new audiences in China. other xiqu forms struggle to attract young even pronounced jingju Shanghai government) were derided in the Western press for failing to match Chen’s Lincoln press for failing to match Chen’s Western Shanghai government) were derided in the (Oestreich 1999a) and innovation (Melvin 1999; Center production’s levels of authenticity for xiqu purity that was ostensibly the reason for the The official Chinese concern Faison 1999). 1998 a pilot project in 2008 to include jingju the Chinese Ministry of Education initiated elite and popular examples of Yet 2008a; Sun 2009). public school music curricula (Xinhuanet In 2007 the National Peking Opera exist. jingju’s continued cultural relevance also

116 Megan Evans corruptive changes. innovation, urgingthatthisprocessnotbewhitewashed, butratherincludebothproductiveand and itsownself-perception. Ramorecommendedare-brandingofChinaaroundtheidea Olympicsbroadcast)diagnosedadangerousdisjuncturebetweenChina’simageabroad its 2008 London-based ForeignPolicyCenter, JoshuaCooperRamo(NBC’s “China Analyst” during abstracted jingjupaintedface, begantointernationalizeitsprofile(ChinaDaily2009). Award (Xinhuanet2010). Inthesameyear, theBrandChinaIndustryUnion, whoselogoisan of MeiLanfang(Englishtitle, Forever Enthralled in jingjucostume(McDonald’s2007a). In2009ChinachoseChenKaige’seponymousbiopic McDonald’s GlobalCastingstars—featuredontake-outbagsandcups—wasayoungwoman money.” “wang qiankan” meant “look towardthefuture”;in1990sit meant “look towardthe for futureandmoney, bothpronounced “qian ” inMandarin. DuringtheCulturalRevolution change drivenbythedesireforprofit. Acommon sayinginthe1990smadeapunonwords living (seeforexampleDavis2005), thereisincreased questioning ofthebreakneckpace “new” is “old” inChinatodayand, despite markedimprovementinmanypeople’sstandardof Modernizations (agriculture, industry, science/technology, andthemilitary). Thus, thelabel ture, customs, andhabits);thepost-Mao “reform andopeningup” emphasisontheFour tions onthethemedrawnfromCulturalRevolution’sattack “Four Olds” (ideas, cul- 1949 Communistvictoryfrequentlydescribedasthebeginningof “New China”;withvaria- “new culture” and “new literature” (2000:31–32). The trajectoryobviouslycontinueswiththe cies,” “new schools,” and “new people” throughtheearly-20th-centuryMay4thmovement’s intellectual andculturalscene:fromlateQingdynastyreformmovementsfor “new poli- fore acontradictionbetweendomesticandinternationalperceptionsofChina. complex understandingRamosuggests, mightplaywellinternationallybutrisksbringingtothe 43; Gluckman2004). Yet anemphasisonnewnessandinnovation, evenwiththemoreopen, Center, andthetwisted “Z” ofChinaCentral Television’s newheadquarters(Marvin2008:236– Nestand the Bird’s Water Cube Olympicvenues, theegg-shapedNationalPerforming Arts Beijing’s architecturalplannersareinlinewithRamo’sbrand “new” Chinaasevidencedby which havebeenintroducedfrom the West. and/or pre-Communistvalues with thedrivingenergyof21st-centuryinnovations, many of sentiment thatchangeishappening toofastandthatwhatisneededasynthesisofCommunist ity, massivecorruption, andgapingdisparities inthedistributionofwealth. There isagrowing demolished neighborhoods, jammedmotorwaysthatrival Los Angeles, direairandwaterqual- China China’s age. What itneedsinsteadisasimplewaytounderstandwhathappeningin “Confucian Institutes” aroundtheworld, forinstance—theworldneedsnoreminderof runs countertomanycurrentattemptstalkaboutChinaas “ancient”—by openingup desperate demandfornewideastohelpthecountry. And thoughthisfocusonnewness lent ofchangeandinnovation;theyshouldbefrankaboutthefailuresreform looking foreverlargerinnovationstosolvethem. DiscussionsofChinashouldberedo- unknown becauseitisstillbeinginvented[...]Chinaconfrontinghugeproblemsand edging themostimportant, honestandobviousthingaboutthecountry:itsfutureis If thefirstadjectivepeoplethinkoftodescribeChinais “new” theywillbeacknowl- The strugglebetweentheoldandnewinChinaisnosecret. Ina2007studyforthe The driveforxin As LeoLeenotes, fromtheturnof20thcentury, “new” or “xin” hasbeenonChina’s today. (2007:39–40) has ledtotheurbanequivalentofclear-cutting deforestation intheacresof ) as itsentryforaforeign-language Academy Brand China 117 - toured extensively in China. China. in extensively toured Lanfang Mei

6 playwright who was named artistic director in 2000, explained that playwright who was named artistic director in 2000, (Wu 2006). “Jia” is a broad concept encompassing home and family. It a broad concept encompassing home and family. is “Jia” 2006). (Wu

honoring the 100th anniversary of Mei’s birth. Conceived and directed by Chen Xinyi, it directed by Chen Xinyi, Conceived and of Mei’s birth. honoring the 100th anniversary

But it received a mixed domestic critical reception and was not chosen as one of the 10 top works of 2006/07 in in 2006/07 of works top 10 the of one as chosen not was and reception critical domestic mixed a received it But high issues and newof works development continued funds which Project, Treasures Stage National China the ahead being it to primarily this attributes Wichmann-Walczak 2007). Cnci.gov.cn 2007; (Bjo.com DVDs quality (2012:255). time its of After premiering in Shanghai at the Fourth National Jingju Festival, Festival, Jingju National Fourth the at Shanghai in premiering After A second site of synthesis is the National Peking Opera Company’s Mei Lanfang Grand A second site of synthesis is the National has substantial postmodern elements, and I know elements, has substantial postmodern Chen’s Mei Lanfang question, Without it is also repeatedly broken, While narrative is used, for this [...]. of no Jingju precedent especially toward the end of and several times slips away entirely, thoroughly imagistic, countermanded in per modes of presentation and perception are Standard the piece. portrayal in the case of Mei fundamental modes of Jingju character including formance, and his artistic creations a male performer of older male roles] [who was portrayed by roles in which Mei spe- by female performers of the young female [who were portrayed one that moves atmosphere, production creates its own self-conscious And the cialized]. (2012:33–34) of the artist’s inner world. away from surface reality toward the reality well that’s just eat- “modern operas,” other we will proceed as we did with If you say, used It would just be following the methods ing someone else’s already chewed bun. just doesn’t have a fresh feeling—without a for the model revolutionary operas—this we must have a new creative in a new era...we have to come up to date, fresh feeling, approach. (2006) 6. Theatre, which opened in November 2007 (CPG 2007). The theatre’s architecture integrates The theatre’s architecture which opened in November 2007 (CPG 2007). Theatre, founded in 1955 with Mei as The National Company, traditional and contemporary elements. but by 1999 it was at a remains the only national-level jingju troupe, its inaugural president, play to offer at that year’s Second National Jingju low artistic ebb: it did not have a single new a xiqu Jiang, Wu Festival. the company’s most significant problem was the lack of its own theatre, when he took over, or jia “home” its own word guojia, directly links ideas of nation and family through its contribution to the compound The theatre’s opening ceremony strategically 2003:69). or state (Lee nation, meaning country, The ). company de jiayuan (Women “Our Home” deployed jia: the evening’s program was titled

was marketed as a “symphonic poem” (a first for jingju) distinguishing it from jingju’s pervasive (a first for jingju) “symphonic poem” was marketed as a analysis: Wichmann-Walczak’s In Elizabeth linear narrative structure. stressed the production’s innovations, Troupe, Peking Opera assistant head of the Tielin, Zhou Zhou explained: the Cultural Revolution. distinguishing it from the model operas of jingju’s the actual process of creation involved synthesis: While Zhou emphasizes innovation, Its inno- the primary language of the production. traditional performance techniques comprised according to director “Chinese” rather than “international” vative dramaturgical structure is posi- The production’s international appeal and 2012:33). Wichmann-Walczak Chen Xinyi (see was confirmed by its inclusion in the 2006 Berlin tion as representative of cultural synthesis Past “China—Between Cultures) festival titled World (House of Welt Haus der Kulturen der (HKW 2006). and Future” The Olympics was an opportunity to showcase China as both innovative and traditional even and traditional even as both innovative to showcase China was an opportunity The Olympics in three important Jingju appeared world. with today’s global its engagement as it celebrated of exploited in two status was directly and Mei Lanfang’s iconic sites of synthesis pre-Olympic Mei Lan of Beijing’s production, Troup the 2004 Peking Opera chronologically is First these. fang, Jingju in the Run-up to the Olympics the Run-up to Jingju in Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00170 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00170 by guest on 28September 2021

118 Megan Evans jingju vice manager, Chinese operalover, andglobalcastingstar” (fig. 2). Assuch, McDonald’suseof Grand Theatre, Chinese title(CPG2007). Jingjuyuan, orChinaNationalJingjuCompany, bringstheconceptofjiaintoitsofficial or ChinaJingjuCompany(withthenationalstatusimplied), thenewnameZhongguoGuojia also usedtheoccasiontoannounceitsnamechange. FormerlycalledtheZhonguoJingjuyuan

you mustuseourbrand. (WuThis isChina’sculturalbrand’” 2006). the insideofbuilding. [Itoldthem] ‘going forward, whenyouofferthebuildingforsale I wasplanningtheMeiLanfangGrand Theatre. [Itoldthemthetheatre]can’tbeputon project, Wu explained, “At thattimewewerenegotiating[landrightsfortheentire venture inwhichheleveragedMeiLanfang’sfame. Describingdeliberationsprecedingthe office, apartment, andshoppingcomplex. Wu Jiangnegotiatedthislocationinadaringjoint Peking OperaCompany, then 2007:270–72): confla mixed programofjingju handling functionssoonafteritopened, thevenuehasbeenreportinghighoccupancywitha international touringshowsofmanykinds. Though itrequiredrenovationstoseatingandair- touted isthetheatre’sstate-of-the-arttechnicalequipmentallowingvenuetoaccommodate the much-publicizedattentiontojingju-specificacousticdesignisclearlyevident, butequally inlayed withgold-paintedcarvedwoodroundsechoingImperialarchitecture. Intheinterior, esting ways:thetheatreisfanshapedanditsglassexteriorhousestallredcolumnswalls with aspecificethnicornationalgroup. atraditionalactivityassociated globally (McDonald’s 2007a). Baowastheonlyone “lovin’” grateful forthepartialfulfillmentofherdreambyshowing infullcostumeandmakeup is toperformjingju. EventhoughMcDonald’sdidn’tgive herthechancetosing, shewas musicians playing Western instruments. performingarts, theothersbeingaballetdancer,“lovin’” aswingdancechampion, andthree but therewerefourfrom Asia. JingjufanBaoJin, theonlyChinese, wasoneofsixpersons sports starslike Venus Williams and Yao Ming. Ofthe24chosen, most were North American, shoot. Their imagesappearedontake-awaycupsandbags, joiningpreviouscelebrityimagesof and realstories.” The 24wereflowntoLondonforanall-expenses-paidholidayandphoto were chosenasbestcapturingthe “I’m lovin’it” slogan “celebrating realpeople, realpassions 2006). Applicants submitteddigitalphotosandabriefstory. Oftheover13,000applicants24 In 2006, McDonald’slaunchedwhatitcalledthe “first-ever onlineglobalcastingcall” (Sweney but ratherinstigatedavastconsumerencounterwithjingjuatMcDonald’soutletsworldwide. 9. 8. 7. In contrasttothepreviousmajorvenueforjingjuperformanceinBeijing, theChang’an guage (McDonald’s 2007b). The only other star whose passion included a cultural or national modifier was the teacher of Braziliansign lan- tural space as cultural capital (Braester 2005:28–32). 2001, resulting in the simultaneous collapse of the state-owned studio system and the increased value of architec- between Chinese filmmakers and real estate developers. The trend was triggered when China entered the WTO in Yomi Braester has documented related examples of “cultural brokering” collaborations in the early 21st-century sculpture outside, was not distinguishable as a theatre. The Chang’an Grand Theatre is located inside an office tower that, until the addition of ajingju painted face The architectureoftheMeiLanfangGrand Theatre integratestraditionalelementsininter Bao’s onlinebiographysayssheisnotaprofessionaljingjuartist butafanwhosedream The lastpre-OlympicsiteofsynthesisIwilladdressdidnotdirectlyreferenceMeiLanfang tion achievedbyMeiLanfangandhiscollaboratorQiRushaninthe1930s(Goldstein imagery was clearly a “token of” or imagery wasclearlya “alibi for”“token of” expectationsofmulticulturalengagement If 7 theMeiLanfangGrand Theatre occupiesaprominentpositioninlarge Chinese culture=MeiLanfang, andMeiLanfangGrand National Theatre = and internationalperformances(Xinhua2008;CRI2008a). Chinese Culture = NationalPekingOpera Chinese Culture = Theatre. 9 The bag’scaptiondescribesBaoasa “customer ser 8 Wu exploitsasimilar complex], - - Brand China 119 - challenges form since there is much overlap of costume designs across across designs costume of overlap much is there since form Figure 2. A McDonald’s take-out bag with “Global Casting Star” Bao Jin, Jin, Bao Star” Casting “Global with bag take-out McDonald’s A 2. Figure Evans) (Courtesy2007. Megan of Hawai’i, Honolulu, in purchased - -

11 one in 24 exotifying 10 perceptions million daily cus- million daily which the English language version translated as “China’s national opera” (McDonald’s 2007c). (McDonald’s opera” national “China’s as translated version language English the which

century service occu-

Olympic global media focus Assumption here is necessary due to McDonald’s refusal, on the grounds of proprietaryof grounds the on informa- business refusal, necessaryis here Assumption McDonald’s to due specific in bags take-away for targeted particularwhether about inquiries to were images respond to tion, geographic markets. xiqu specific a communicate not does image Bao’s in interest her listed webpage language Chinese McDonald’s the on biography Bao’s forms. xiqu of hundreds the “jingju,” The prominent attention 10. 11. The 2008 Olympics Opening Ceremony presented huge opportunities as well as The 2008 Olympics Opening Ceremony Jingju Goes to the Olympics(?) for China to reframe its international image (Kennet and Moragas 2008). Xin Xu notes for China to reframe its international image (Kennet and Moragas 2008). with a universally legitimate way to present “have provided nation-states that the Olympics and promote their national identities and cultures; this is especially true for host countries” “Globalism’s signature per labeling the Olympics Richard Schechner goes further, (2006:90). I noted above how Mei Lanfang constructed jingju as China’s ([2002] 2006:292). formance” (Lei 2006:223). McDonald’s put McDonald’s (Lei 2006:223). casting bags in the these global 52 hands of its (McDonald’s tomers worldwide dis- Assuming an even 2007b). images, tribution of bags showed Bao, and over two bags showed Bao, encoun- million customers daily tered her jingju-costumed impact. McDonald’s commer impact. cial prowess also suggests that among its mass international xiqu imagery is customer base, linked with Chinese cultural identity in ways that promoted a marketing advantage during the pre- on China. paid to jingju in these three var ied and internationally accessible contexts is proof that jingju, is far while perhaps not thriving, (Huot “definitively dead” from jingju was cen- In fact, 2000:76). legible Chinese brand as an important site of internationally tral to the emerging 21st-century, 2008 Olympics. synthesis in the period leading up to the pation challenges image during the 18-month image during the 18-month youth Bao’s obvious campaign. and 21st- fans are in China that all xiqu the same At aging retirees. to one of linking jingju time, - the world’s most recogniz able brands has a de- Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00170 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00170 by guest on 28September 2021

120 Megan Evans (Tang Tao2008). event withtheslogan “One World, OneDream” (Beijing2008), warriors aremorecomplex. glitches aroseduringdressrehearsals. However, aswewillsee, thereasonsfornotshowing ment forasegmentdepictingtheSha’anxiterracottawarriors, whichwasdeletedaftertechnical 13. 12. Megan Evans) the cover with obviously Caucasian of ballet dancers. (Courtesy male jingju rolemartial in a gesture of welcome and respect shares surrounding the 2008 Olympic Games. Performer costumed for a at theatresperformances around Beijing during the months Figure 3. Cover of the Long before8 August 2008, theBeijingOlympics organizingcommitteeframedtheentire (2008:271–73). I am indebted in this analysis to Eli Rozik’s holistic and functional reassessment of theatre semiotics unscathed by its earlier destruction” (2008:202). ing over repression” “brutal of the Cultural Revolution period by resurrecting “traditional culture, pristine and Sandra Collins’s harsher analysis of Beijing’s contribution to the 2004 Athens Closing accuses Zhang of gloss- 12 As forthesecondquestion, the2008jingjusegment wasahurriedreplace- Culture Guide Beijing 2008 listing “superficial culturalclichés” ing China’sancientcultureto ists) wascriticizedforreduc- red lanternsandkungfuart- jingju performers(alongwith which includedflag-twirling Olympics closingceremony, tribution tothe2004 Athens in thefactthatBeijing’scon- to thefirstquestionlikelylies ment wasbungled? The answer was finallyshown, thebriefseg- did ithappenthatwhenjingju not includejingju? And how Olympics’ openingceremony for theartisticperformancein performance traditions. equal) amongthegreatglobal is clear:jingjufirst(oratleast the background. The message of Caucasianballetdancersin darker thanthemutedcollage ing beenprintedlargerand ful greetingtakesfocus, hav- conventional gestureofrespect- smiling jingjuperformerina 2008) wheretheimageofa (Beijing OrganizingCommittee of theCulture Guide This isevidencedbythecover ucts ontheinternationalscene. relation tootherculturalprod- it assuch, prioritizingjingjuin Committee continuetoview Beijing OlympicsOrganizing ness leadersinChinasuchasthe important politicalandbusi- iconic 13 whichishelpfullyunderstood Why thendidthefirstplans performance form, and Beijing 2008 Brand China 121 - (2001). As an idealistic answer to this unflattering metaphor for answer to this unflattering metaphor As an idealistic 1989–2000 (2001).

tain cultural soil or localized. The artificial nationalism has been transcended by a sort of tain cultural soil or localized. (2009:113–14) or a new type of cosmopolitanism. transnationalism, Looking beyond the slogan, Jacques DeLisle conflates the original saying and the Olympics Jacques DeLisle conflates the slogan, Looking beyond the China is notably absent from DeLisle’s anal- “new” Ramo’s recommendation for a focus on are there is the unprecedented highlight of Confucian ideas which [O]n the one hand, all these are realized by means of but on the other hand, certainly national and local, light and electricity which were introduced from postmodern high technologies of sound, and glo- globalization and nationalism are in play, both Here, and thus global. West the and in turn an essential part of balization is realized by highlighting a sort of nationalism, thus creating a plane of transnationalism. national culture (Confucianism) is globalized, cer The process suggests that globalization cannot be realized unless it is located in a For Wang, Chinese modernism contests the myth of a “singular [Western] modernity” and is modernity” “singular [Western] the myth of a Chinese modernism contests Wang, For modern culture (116). Western able to engage equally well with Chinese traditional culture and cul- Since the Mao era is more baffling to many foreign observers than traditional Chinese on which emerging Chinese post-modernities operate can “the plane of transnationalism” ture, and post-Mao cul- Maoist, similarly function in the discourse as a bridge between traditional, directed by renowned filmmaker the 2008 opening ceremonies, Nonetheless, tural expressions. in dialogue with a related Chinese saying “Same Bed, Different Dreams,” referring to the famil- referring Different Dreams,” Bed, “Same saying with a related Chinese in dialogue psychic or emotional but occupy separate together physically of people who live iar situation discus- frequently in The phrase has appeared to communicate. result of an inability states as a as David Crosby’s article such presence, global economic in China’s emerging sions of glitches Financial Dreams’ in China’s Different Bed, ‘Same Commitments: WTO China’s “Banking on Managing Dreams”: Different “Same Bed, Lampton’s book (2008) and David Services Sector” US-China Relations China’s international trade relations, the “One World, One Dream” slogan has a less hegemonic slogan has a less hegemonic Dream” One World, “One the trade relations, China’s international falling in line with the universalizing with the original Chinese saying, ring for those unfamiliar to serve com- however, manipulated, The slogan was easily movement. impulses of the Olympic a year before the Wall on the Great protesters unfurled a slogan example, For peting narratives. (Price and Dayan 2008:1). Tibet” Free One Dream, World, “One games reading The Contest to Define the Different Dreams’: “‘OneWorld, chapter titling a book slogan, Chinese regime hoped to use the DeLisle suggests that the current (2008). Beijing Olympics” - normal and global orderly, “prosperous, of China as a “main narrative” games to establish the extraordinary display in the open- China’s prosperity and order were on nation (19–31). ized” in sumptuous costumes moving with stunning ing ceremony performance: masses of people “the Beijing Olympics to assert China’s DeLisle writes that China’s ruling elite used precision. respectability and normal membership in the global international or return to, achievement of, reiterated in the Beijing infer a globalized China, Images of a cosmopolitan (25). community” rightly asserts these officially preferred themes are DeLisle One Dream.” World, “One slogan ideals of international- with each other and with the Olympic consistent” if not fully, “broadly, ism and universality (19). linking to the past was the key organizing principal But as is any mention of tradition. ysis, “Glorious Era” while the of the opening ceremonies, half “Brilliant Civilization” of the first center stage Placing Confucian disciples 2008). second half portrayed modern China (Beijing dispels any misconceptions of a lingering offi- in the Olympic opening ceremonies not only glossing over the Cultural Revolution cial Chinese repression of Confucian ideals—arguably Bell 2006)—but also links to the current outreach ini- (Collins 2008:202; see Solé-Ferras 2008; around the world to teach Chinese language and culture. “Confucius Institutes” tiative to open propaganda interests (Paradise 2009:659–62), Though frequently criticized as serving China’s image of China as open both to the world and the Institutes nonetheless present a synthesized elements of traditional culture in the 2008 opening cere- Analyzing these to its Imperial past. expression of Chinese cultural and national identity: “glocalized” Ning found a Wang mony, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00170 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00170 by guest on 28September 2021

122 Megan Evans being portrayed asthe “Terracotta soldiers’[ofSha’anxi]triumphant return” butthis wasa throng ofactorsandtheaction ofthepuppets. opaque bytheineffectivecommunication ofanynarrativerelationshipbetweenthesurrounding world’s oceanswiththeaidofa magneticcompass)thejingju-derivedsegmentwasrendered (Confucian discipleschantingfrom theAnalects;ZhengHeandhisoarsmennavigating the thetic ofroundness. Whereas theinnerfictionallayerofothersegmentswasreadily accessible ners bythegroupofperformerswasadistinctlyinappropriate waytoportrayjingju’s group movementsequencesthatcouldhavebeenused. The mappingofsquaresandcor form wassomeoftheleastcomplexevening, and farfromthethrillingtraditionaljingju the video(fig. 4). Moreover, thegroupmovementofactorssurroundingperformanceplat- human height, andtheirmovementstoojerky limbstoosmalltobeseenclearlyin cinematic andineffectiveasalarge-scalearenaspectacle. The puppetswerelessthanhalf ers unfamiliarwithjingju, namelythatjingjuisapuppet form. The segmentwasuniquelyun- the segment, andwasperhapsdesignedtodisruptapotential misreadingofthescenebyview- odd phrasingseemstodevolvefromthefactthatorchestra wastheonlyjingjuelementin sion performanceoftraditionalPekingOperaChina” (CCTVInternational2008). This some Chinese, unfitforviewingbyoutsiders. The jingju-derivedimagesbecamethevisualmarkerofallthingsoutmodedand, intheviewof Clearly thiscommentarywasnottakenfromtheBeijingorganizingcommittee’smediaguide. the BBC’sCarrieGraciewas, ditional,” thejingjusegmentwasastrangepuppetandpercussioniteration, whichaccordingto vation, openness, andthecreativityofindividual. history, butnotafraidtomodernize, NBCviewershadtheeventframedbyanarrativeofinno- images interpretedasemphasizingaChinaproudofitselegant, traditional, ancient, romantic soming plumflowers, theChinesesymbolforopenness” (NBC2008). WhileBBCviewerssaw just remarkable, thedirectorZhang Yimou bringsthegreatwalldownandreplacesitwithblos- of theofficiallyconstructednarrative, commented, “And nowinamomentofsymbolismthatis loving Chinesepeople” (CCTVInternational2008). ButNBC’sRamo, inastrikingrevision peach blossoms, romanticandenjoyable, adequatelydemonstratingthesweetwishofpeace- able ontheChinaCentral Television (CCTV)websitesoonaftertheperformance: “Here are soms, romanticandenjoyablesaytheChinese” (BBC2008), stickingclosetothetextavail- of printingblocksintoblossoms. BBC’sHuwEdwardsdescribedtheflowersas “peachblos- ences betweenthetwocommentariesareillustratedbyhoweachhandledtransformation cussed above)frequentlystrayedfromtheChineseofficiallyconstructednarratives. Thediffer NBC, anchoredbyJoshuaCooperRamo(authorofthe “Brand China” positionpaperdis- in realtime, reliedonBeijing-suppliedpresskits. The delayed, editedbroadcastoftheUSA’s emony performanceindicatingtheambiguityofZhang’ssymbolism. The BBC, broadcasting were importantdisparitiesbetweentheBritishand American commentariesontheopeningcer “understand theimageryandsymbolismhepresents” (Tang Yuankai 2008). However, there Chinese flag. to explicateopaqueMaoistimageryandlimitedCommunisticonographytheraisingof Zhang Yimou [1991] ,(Raise theRedLantern HouseofFlyingDaggers [2004]), madenoattempt Press kitsoffered littleassistance. The earlyCCTVwebsitedescribedthefictional layer The segmentwasdescribedintheChineseofficialEnglish-language pressasa “percus- second halfoftheperformance]. (BBC2008) presented. They’d ratherseeamoremodernversion. Butwewillcometothat[inthe robotic movements. There aresomeChinesewhodon’twanttoseethissideofChina of China, kungfu, Confucianism, theenormousnumbersofpeopleinvolvedinalmost controversial withsomesectionsoftheChinesepublic. They feelthisisanolderimage How didjingjufareontheopeningceremonies’ “plane oftransnationalism”?Farfrom “tra- According totheChinesepress, Zhang Yimou hopedtoensurethatforeignerswould core aes- - - - Brand China 123

I have found no explanation of the replacement segment’s intended narrative and the “Behind the Scenes” docu- the Scenes” “Behind the and narrative intended segment’s replacement the of no explanation found have I link actors human surrounding the of costumes yellow the me, For 2009). (CCTV insight no mentaryprovides numer- after gleaned I action, The yellow. in appears always who Wukong, Sun king monkey trickster the to for- sneaking be to appears group surrounding the hijinks: Sun’s to viewings,video ous supports relation some bursts group surrounding the and bums, their onto chairs their of off fall characters puppet the four then ward, into laughter. performerstwo which in sang ceremonies, opening the in representative xiqu other only the deleted also NBC falsetto traditional used singer male The brushes giant used others while melodies calligraphy. kunqu practice to con- in common is that vibrato wide a with placement, vocal broader a used singer female The technique. vocal temporarymusic. popular Chinese While viewers in New Zealand were inaccurately told this was “Peking Opera beautifully “Peking Opera beautifully told this was While viewers in New Zealand were inaccurately 14. 15. holdover from the deleted segment. The CCTV “Behind the Scenes” documentary also erro- “Behind the Scenes” The CCTV holdover from the deleted segment. new but confusingly described the struggle to construct neously referred to the clay solders, step if the new an arguably unnecessary actors, costumes in time for the group of surrounding deleted segment’s depiction of the Sha’anxi warriors. segment had been intended to follow the Figure 4. Beijing 2008 Olympics Opening Ceremony, marionette puppets included in the segment titled titled segment the in included puppets marionette Ceremony, Opening Olympics 2008 Beijing 4. Figure broadcast. edited delayed, NBC’s from deleted was segment This Performance.” Percussion Opera “Peking Grimm) (TRANZ/EPA/Peer In sum, it was a confusing and “lackluster scene that has been widely derided by Chinese blog- “lackluster it was a confusing and In sum, 2008). Tieba.baidu.com (Barmé 2008; see also gers and Beijing viewers” barely compre- the BBC audience had Edwards’s 2008), (NZTV wonderfully achieved” done, Peking opera “Here we have a percussion performance of the traditional hensible description: And the energy is typ- is very much a festive scene. Operatic percussion of course, of China. the BBC Commentating live, (BBC 2008). music” ical of this kind of style of performance of of the and the bungling by the Chinese organizers, announcers relied on descriptions supplied NBC chose to section carried through from its staging to its explanation for the foreign press. delete the segment entirely. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00170 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00170 by guest on 28September 2021

124 Megan Evans Yimou’s orders. Oncethedecisionwasmade hedevelopedanewsequence(CCTV2009). pets, thoughwithsubstantialreductionsandmodification. Heagreed, however, tofollowZhang tor oftheproductionbroadcastin Times Square, arguedstronglyforretainingthegiantpup- claim thatthiswasthereasonforsubstitution. DeputyartisticdirectorZhangJigang, direc- appropriate representativeofxiquthantheoriginallyplannedqinqiangsegment, butdoesnot 16. ence totellthisepictale “on themagnificentstagefromamodernperspective” (NCPA n.d.:6). developed byNCPA, astatedcreativegoalwastouse Western grandoperaasadesignrefer Department andZhang Yimou’s assistantontheOlympics. As thefirst “original” production Jigang, headoftheSongandDance Troupe ofthePeople’sLiberation Army GeneralPolitical LED screensinNew York City’s Times Square. newly adaptedproductionofthetraditionaljingjuplayRedCliff wasdisplayedacrossthegiant shaped NationalCenterforthePerforming Arts (NCPA) inBeijing, avideoofhighlights thesis. InMarch2009, ostensiblytomarktheone–year anniversaryoftheopeningegg- itself wasafailure—maywellhavecontributedtonoteworthy post-Olympicdisplayofsyn- NBC’s decisiontodeletethejingju-derived of Brand China Jingju inPost-Olympic Iterations dium. The resultwasadecidedlyconflictedhybrid, notatransnationalsynthesis. tive composedthroughineffectivevisualsthatdidn’tworkeitherontelevisionorinthevaststa- was farfromsuccessful. Itdidn’tshowjingju’scoreaesthetics;itpresentedaconfusingnarra- the puppets. because hisprimaryconcernwastheinsufficienttimetoresolvetechnicaldifficultieswith ing, Zhangsaidhedidnotcarewhetherqinqiangorjingjumusicaccompaniedthesegment the giantpuppetswasjingju’sstatusasanationallyrepresentativeform. At the26Julymeet- sure ofthesuccessentireevent. Heundercutsthesuspicionthatreasonfordeleting weigh theneedtofreeuptimedealwithproblemsinothersegments. Zhanghadtomake for cancelingthegiantpuppets, explainingthatthelargeinvestmentofresourcesdidnotout- monies) andpost-performancecommentsbykeyparticipants. Zhang Yimou takesresponsibility surprisingly candiddebateatadirectors’meetingon26July(13daysbeforetheopeningcere- troversy. Fascinatingfootageofmassrehearsalswiththegiantpuppetsisinterwoven (Zhongguo quiqiangwang2008). was cutatalatedressrehearsalbecausesomeofthepuppets’limbsdidnotlightupeffectively racotta warriors]weretoomartialintone” (2008). Another onlinesourceassertedthesegment from theshowonadviceBeijingOlympicCommitteewhodeemedthatthey[theter status hadultimatelytrumpedthe “lower” folkform. Barméreportedthatthesegmentwas “cut case anylocaloperaornot” (Xinhuanet2008b). Chinese operaandassertedthatitwasyettobedecided “whether theceremonyshouldshow- qinqiang form, wasimmediatelydenied. An officialnotedthetherewereover300formsof Yimou, sayingthattheOpeningCeremonyperformancewouldincludeSha’anxifolkopera Problems weresignaledsevenmonthsbeforetheOlympicswhenaleakattributedtoZhang ing theSha’anxiprovinceterracottawarriors. Reportsvariedaboutwhythewarriorswerecut. Thrown togetherinsevendays, thesubstituted “Peking opera A 26-partCCTVdocumentaryontheopeningceremoniesdevotedanepisodetocon- Online discussionsimmediatelyaftertheperformancesurmisedthatjingju’sculturallyiconic The jingju-derivedsegmentwasalast-minutereplacementforthegiantpuppetsrepresent- its inclusion. its inclusion. opening ceremony and clearly suggests that others involved in the decision-making process were pushing for This brief reference shows jingju music, if not its visual markers,running to be included was in stillthe in the 16 Another directorinthepost-performancediscussionsuggestsjingjuwasamore segment—and thegeneralopinionthatsegment

The stageproductionwasdirectedbyZhang percussion performance” - - Brand China 125 broadcast in Times Square on 16 March March on 16 Square Times in Cliff, broadcast Red Figure 5. Jingju actor Meng Guanglu as Cao Cao in Beijing’s National Centre of of Centre National Beijing’s in Cao Cao as Guanglu Meng actor Jingju 5. Figure of production Arts Performing Hong) Agency/Shen News (Xinhua 2009. - Red play characters Cao Cao and Zhuge Liang as representatives of China’s - people

established Chinese cul- video broadcast in Times Times video broadcast in

as China’s as China’s Enthralled A final noteworthy site of synthesis is the recent nomination of Forever In addition to developing In addition to developing ried New Yorkers who “only ried New Yorkers briefly glanc[ed] at the screens” the photos link- (Gondo 2009), ing iconic traditional jingju and the many other gaudy lights of 21st- NASDAQ Arts Center with National Performing (Xinhuanet 2009; 1 and 5) received glowing coverage in China Square (figs. Times century Jiangang 2009). Wang Though the film 2010). (Xinhuanet Award Academy entry for the Foreign Language Film the choice will received mixed reviews and did not make it to the final five for Oscar night, to jingju’s surely increase its international exposure and constitutes an important official nod earlier Chen Kaige’s centrality in the cluster of images representing China internationally. emphasized the Hong Kong’s 1994 Oscar entry, My Concubine, Farewell jingju-related film, and the drunken debauchery of jingju pedophilia, brutality of Republican-era jingju training, that appears to In a scene is decidedly more respectful. Enthralled Forever By contrast, patrons. around the world know more about the longstanding and well- by showing ture and civilization” “crossroad of the jingju in this Jiangang 2009). (Wang world” Times This framing equates Square with the kind of international exposure jingju could have received in the Olympics opening had the segment been han- Though dled more effectively. recep- “lukewarm” UPI reported tion of the broadcast by har - In a pre directed. Zhang Jigang interview he dis- production from the form, tanced himself “that he was not confessing and not- fan” a Peking opera show “the upcoming ing that [was] partly for his 92-year-old who [...] has shown him mother, tradi- the necessity of promoting (CRI 2008b). tional Chinese art” is NCPA its own productions, inter China’s most important with a national touring venue The wide-ranging program. Cliff Square included an introduction to the venue’s technologically facilities (PlaybillArts world-class official goal NCPA’s 2009). Square broad- Times for the “to make more cast was was the first jingju Red Cliff was the first Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00170 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00170 by guest on 28September 2021

126 Megan Evans protectionist reverenceforthepurityof “Brand MeiLanfang” aspartofBrandChina. and traditionalimpulses. What isonshowthefilmmakers’sociallyconservativeimpulsesand whose mostprominentinternationalculturalambassadorsuccessfullysynthesizescontemporary the choiceofForever Enthralled offersalushifoverlycontrolledportraitofmodernizingChina China’s 2008Oscarbid(adocumentaryaboutthecityofBeijingpreparingforOlympics), pelling but restrained. national heroiscementedbyhisrefusaltoperformfortheJapaneseoccupyingforces, iscom- and wearinga Western tuxedo. The remainingthirdofthefilm, inwhichMei’sstatusas adamantly masculineChinesemodernity, Meitakeshisfinal Americanbowswithoutmakeup give Meiastandingovation. Cappingthenarrativearcwithasymbolicrepresentationofhis thepinnacleofMei’sartisticcareerasmomentwhenfilm constructs Americanaudiences widely acclaimedportrayaloftheyoungMeibyxiqu- Mei’s radicallyinnovativecontributionstoRepublican-erajingju’sgoldenageandoffersa chose todistanceMeiandhisfamilyfromevenanindirecttaint. Forever Enthralled pop singerandfilmidolLeonLaiunconvincinglystepsinastheolderMei. The life. The older, scandal-freeactressChenHongtakesoverthewife’srolewhileCantonese depicting Mei’searlymarriedlife(Yu 2008). The finishedfilmlurchesawkwardlytoMei’slater of theactressGillianChung, whoplayedtheyoungMei’swife, thefilmmakerscutallscenes tionships. After awidelypublicizedscandalduringpost-productioninvolvingeroticphotos encounters ofthedan staunchly refusingtoparticipateinthispractice. Where Farewell traded forsexualfavorsfromjingjuactors(hereyoungmen, notboys), butshowsMeiLanfang be adirectapologyforFarewell’s wilddebauchery , Forever Enthralled suggestspatronagewas 17. mask” Daily 2009). The organizationdescribesits “China Face” logoasan “abstract Pekingopera sion isto “build anewimageforChinesebrandandreshape theglobalbrandlandscape” (China appear tobetheeyesofdesign(Ally2010;Ji2010). BrandChinaIndustryUnion’smis- ing itsnewhybridcarinfrontofajingjupaintedface, positioned sothatthecar’sheadlights commercial branding. BMWlocalizedits2010global “Joy” campaignwithadsandpostersplac- the internationalculturalscene. Years aftertheOlympics, jingjumaintainsapresenceinglobal Enthralled intoOscarcontentionshowsofficialChina’spersistentdesiretoforegroundjingjuon of liveperformancesatmovietheatresaroundtheworld. Similarly, thedecisiontoplaceForever comparable toNew York’s MetropolitanOperaandtheBritishNational Theatre’s screenings medial andtransnationalbridgingofelitepopularexpressionsnationalidentity, andis talizing theform. The Times Squarebroadcastconstitutesarecognizablypostmoderninter doesn’t affectitsculturalrelevance, aseconomicprosperityhasallowedChinatoinvestinrevi- Jingju’s “misrepresentation” intheeye-candythatwasOlympicsopeningceremonies Conclusion branding giant(innovator). The ChinaFacelogo combinestraditionandinnovationwithasim- melimine inbabymilkpowder;transcendChina’sstatusasmanufacturing giant(imitator)into scend”: returntotraditionalethicsinthewakeofproductscandals likethediscoveryoftoxic in Beijing August 2010. The themeofthe 2010BrandChinafestivalwas “return andtran- a massiveBrandChinafestival, includinganopeningceremony attheGreatHallofPeople ery, blackforintegrity, selflessness, andprobity(BCIU2009). In2009and2010itcosponsored Painted Face roles and use these designs. the In contrasttoChenKaige’s2004Oscarbid(amartialartsfantasycalledThePromise), and “Peking opera mask” is an inaccurate English translation of The BICU continues the English-language branding of jingju as “Peking opera” by Mei Lanfang in the 1930s. 17 jing (painted-face) role type are not masks, they are painted directly on the actor’s face. Many xiqu forms have andexplainsthelogo’scolorsaccordingtojingjusymbolism: redforloyaltyandbrav- performer, Forever Enthralled emphasizesMei’sheterosexualoffstagerela- lianpu trained filmunknown Yu Shaoqun. The (literally, face design). The elaborate designs of focused onthehomoerotic filmmakers emphasizes - Brand China 127 www.rayally.com/?p=955 www.rayally.com/?p=955 [Mei Lanfang again competes in the China www.nytimes.com/2006/09/14/opinion/14iht-edbell 14 September. Minneapolis: University of Minneapolis: University Dimensions of Globalization. Cultural Modernity at Large: New York Times, Times, New York New York: Verso. New York:

eds. Michel eds. 6, New Series No. Special Issues, The China Quarterly PRC, in the Contemporary Culture

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