Art in Turmoil

Author: Richard King

Publisher: UBC Press

ISBN: 9780774815420

Category: Art

Page: 282

View: 800

Chapters by scholars of Chinese history and art and by artists whose careers were shaped by the Cultural Revolution decode the rhetoric of China's turbulent decade. The many illustrations in the book, some familiar and some never seen before, also offer new insights into works that have transcended their times."--BOOK JACKET.
Art, Global Maoism and the Chinese Cultural Revolution

Author: Jacopo Galimberti

Publisher: Manchester University Press

ISBN: 9781526117496

Category: Art

Page: 376

View: 559

This is the first book to explore the global influence of Maoism on modern and contemporary art. Featuring eighteen original essays written by established and emerging scholars from around the world, and illustrated with fascinating images not widely known in the west, the volume demonstrates the significance of visuality in understanding the protean nature of this powerful worldwide revolutionary movement. Contributions address regions as diverse as Singapore, Madrid, Lima and Maputo, moving beyond stereotypes and misconceptions of Mao Zedong Thought's influence on art to deliver a survey of the social and political contexts of this international phenomenon. At the same time, the book attends to the the similarities and differences between each case study. It demonstrates that the chameleonic appearances of global Maoism deserve a more prominent place in the art history of both the twentieth and twenty-first centuries.
Fragmented Memories and Screening Nostalgia for the Cultural Revolution

Author: Jing Meng

Publisher: Hong Kong University Press

ISBN: 9789888528462

Category: History

Page: 176

View: 758

Fragmented Memories and Screening Nostalgia for the Cultural Revolution argues that films and TV dramas about the Cultural Revolution made after China’s accession to the WTO in 2001 tend to represent personal memories in a markedly sentimental, nostalgic, and fragmented manner. This new trend is a significant departure from earlier films about the subject, which are generally interpreted as national allegories, not private expressions of grief, regret or other personal feelings. With China entering a postsocialist era, the ideological conflation of socialism and global capitalism has generated enough cultural ambiguity to allow a space for the expression of personalized reminiscences of the past. By presenting these personal memories—in effect alternative narratives to official history—on screen, individuals now seem to have some agency in narrating and constructing history. At the same time such autonomy can be easily undermined since the promotion of the sentiment of nostalgia is often subjected to commodification. Sentimental treatments of the past may simply be a marketing strategy. Underplaying political issues is also a ‘safer’ way for films and TV dramas to secure public release in mainland China. Meng concludes that the new mode of representing the past is shaped by the current sociopolitical conditions: these personal memories and micro-narratives can be understood as the defining ways of remembering in China’s postsocialist era. ‘Fragmented Memories and Screening Nostalgia for the Cultural Revolution takes a comprehensive look at contemporary screen depictions of the Cultural Revolution. The book convincingly ties close readings of the works analysed with broader social and cultural phenomena that already are hot topics of study and debate, offering something original while also being closely engaged with existing scholarship.’ —Jason McGrath, University of Minnesota ‘Breaking through the tired dichotomy between personal and collective narratives, individual memory and grand history, this refreshing book sheds much light on film memories of the Cultural Revolution in the post-socialist millennium. In a limpid and engaging style, Jing Meng probes memory’s nostalgia and imbrication with the collective destiny, and critiques the personal focus aligned with neoliberal economy and commodification.’ —Ban Wang, Stanford University
Historical Dictionary of the Chinese Cultural Revolution

Author: Guo Jian

Publisher: Rowman & Littlefield

ISBN: 9781442251724

Category: History

Page: 542

View: 975

This second edition of Historical Dictionary of the Chinese Cultural Revolution covers its history through a chronology, an introductory essay, glossary, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on important personalities, politics, economy, foreign relations, religion, and culture. This book is an excellent access point for students, researchers, and anyone wanting to know more about this important period in Chinese history.
Collecting the Revolution

Author: Emily R. Williams

Publisher: Rowman & Littlefield

ISBN: 9781538150689

Category: History

Page: 217

View: 343

Collecting the Revolution is an exploration of British engagements with Chinese Cultural Revolution material culture from 1966 to the present. It examines the ways in which the Cultural Revolution and Chinese Communism more broadly was understood, mediated, and represented through its art, propaganda, and material culture.
Staging Revolution

Author: Xing Fan

Publisher: Hong Kong University Press

ISBN: 9789888455812

Category: History

Page: 308

View: 581

Staging Revolution refutes the deep-rooted notion that art overtly in the service of politics is by definition devoid of artistic merits. As a prominent component shaping the culture of the Cultural Revolution, model Beijing Opera (jingju) is the epitome of art used for political ends. Arguing against commonly accepted interpretations, Xing Fan demonstrates that in a performance of model jingju, political messages could only be realized through the most rigorously formulated artistic choices and conveyed by performers possessing exceptional techniques. Fan contextualizes model jingju at the intersection of history, artistry, and aesthetics. Integral to jingju’s interactions with politics are the practitioners’ constant artistic experimentations to accommodate the modern stories and characters within the jingju framework and the eventual formation of a new sense of beauty. Therefore, a thorough understanding of model jingju demands close attention to how the artists resolved actual production problems, which is a critical perspective missing in earlier studies. This book provides exactly this much-needed dimension of analysis by scrutinizing the decisions made in the real, practical context of bringing dramatic characters to life on stage, and by examining how major artistic elements interacted with each other, sometimes harmoniously, sometimes antagonistically. Such an approach necessarily places jingju artists center stage. Making use of first person accounts of the creative process, including numerous interviews conducted by the author, Fan presents a new appreciation of a lived experience that, on a harrowing journey of coping with political interference, was also filled with inspiration and excitement. “This fascinating study is ground-breaking and timely. Xing Fan masterfully demonstrates how the creative choices made by playwrights, directors, musicians, actors, and designers intersected with one another in creating an aesthetics of the model theater during the Cultural Revolution. A must-read for anyone interested in Chinese literature and drama, theater studies, and comparative literature.” —Xiaomei Chen, University of California, Davis “Though no longer in fashion, the model revolutionary operas of the Cultural Revolution are still occasionally performed. Xing Fan has done us a great service by analyzing them in detail and reminding us of their merits. I thoroughly enjoyed this engaging book and learned a lot from it. I recommend it strongly.” —Colin Mackerras, Griffith University
Red Legacies in China

Author: Jie Li

Publisher: BRILL

ISBN: 9781684171170

Category: History

Page: 438

View: 897

What has contemporary China inherited from its revolutionary past? How do the realities and memories, aesthetics and practices of the Mao era still reverberate in the post-Mao cultural landscape? The essays in this volume propose “red legacies” as a new critical framework from which to examine the profusion of cultural productions and afterlives of the communist revolution in order to understand China’s continuities and transformations from socialism to postsocialism. Organized into five parts—red foundations, red icons, red classics, red bodies, and red shadows—the book’s interdisciplinary contributions focus on visual and performing arts, literature and film, language and thought, architecture, museums, and memorials. Mediating at once unfulfilled ideals and unmourned ghosts across generations, red cultural legacies suggest both inheritance and debt, and can be mobilized to support as well as to critique the status quo.
Rethinking Chinese Socialist Theaters of Reform

Author: Xiaomei Chen

Publisher: University of Michigan Press

ISBN: 9780472074754

Category: Performing Arts

Page: 321

View: 150

The profound political, economic, and social changes in China in the second half of the twentieth century have produced a wealth of scholarship; less studied however is how cultural events, and theater reforms in particular, contributed to the dynamic landscape of contemporary Chinese society. Rethinking Chinese Socialist Theaters of Reform fills this gap by investigating the theories and practice of socialist theater and their effects on a diverse range of genres, including Western-style spoken drama, Chinese folk opera, dance drama, Shanghai opera, Beijing opera, and rural theater. Focusing on the 1950s and ’60s, when theater art occupied a prominent political and cultural role in Maoist China, this book examines the efforts to remake theater in a socialist image. It explores the unique dynamics between official discourse, local politics, performance practice, and audience reception that emerged under the pressures of highly politicized cultural reform as well as the off-stage, lived impact of rapid policy change on individuals and troupes obscured by the public record. This multidisciplinary collection by leading scholars covers a wide range of perspectives, geographical locations, specific research methods, genres of performance, and individual knowledge and experience. The richly diverse approach leads readers through a nuanced and complex cultural landscape as it contributes significantly to our understanding of a crucial period in the development of modern Chinese theater and performance.
Milestones on a Golden Road

Author: Richard King

Publisher: University of British Columbia Press

ISBN: 0774823720

Category: History

Page: 281

View: 819

In Milestones on a Golden Road, Richard King presents pivotal works of fiction published under the watchful eye of China's Communist regime between 1945 and 1980. Addressing questions of literary production, King looks at how writers dealt with shifting ideological demands, what indigenous and imported traditions inspired them, and how they were able to depict a utopian Communist future to their readers, even as the present took a very different turn. Early "red classics" were followed by works featuring increasingly lurid images of joyful socialism, and later by fiction exposing the Mao era as an age of irrationality, arbitrary rule, and suffering - a Golden Road that had led to nowhere.
The Cultural Revolution

Author: Frank Dikötter

Publisher: Bloomsbury Publishing USA

ISBN: 9781632864222

Category: History

Page: 432

View: 402

The concluding volume--following Mao's Great Famine and The Tragedy of Liberation--in Frank Dikötter's award-winning trilogy chronicling the Communist revolution in China. After the economic disaster of the Great Leap Forward that claimed tens of millions of lives from 1958–1962, an aging Mao Zedong launched an ambitious scheme to shore up his reputation and eliminate those he viewed as a threat to his legacy. The stated goal of the Cultural Revolution was to purge the country of bourgeois, capitalistic elements he claimed were threatening genuine communist ideology. Young students formed the Red Guards, vowing to defend the Chairman to the death, but soon rival factions started fighting each other in the streets with semiautomatic weapons in the name of revolutionary purity. As the country descended into chaos, the military intervened, turning China into a garrison state marked by bloody purges that crushed as many as one in fifty people. The Cultural Revolution: A People's History, 1962–1976 draws for the first time on hundreds of previously classified party documents, from secret police reports to unexpurgated versions of leadership speeches. Frank Dikötter uses this wealth of material to undermine the picture of complete conformity that is often supposed to have characterized the last years of the Mao era. After the army itself fell victim to the Cultural Revolution, ordinary people used the political chaos to resurrect the market and hollow out the party's ideology. In short, they buried Maoism. By showing how economic reform from below was an unintended consequence of a decade of violent purges and entrenched fear, The Cultural Revolution casts China's most tumultuous era in a wholly new light.
The Art of Cloning

Author: Pang Laikwan

Publisher: Verso Books

ISBN: 9781784785208

Category: History

Page: 321

View: 641

Cultural production under Mao, and how artists and thinkers found autonomy in a culture of conformity In the 1950s, a French journalist joked that the Chinese were “blue ants under the red flag,” dressing identically and even moving in concert like robots. When the Cultural Revolution officially began, this uniformity seemed to extend to the mind. From the outside, China had become a monotonous world, a place of endless repetition and imitation, but a closer look reveals a range of cultural experiences, which also provided individuals with an obscure sense of freedom. In The Art of Cloning, Pang Laikwan examines this period in Chinese history when ordinary citizens read widely, traveled extensively through the country, and engaged in a range of cultural and artistic activities. The freedom they experienced, argues Pang, differs from the freedom, under Western capitalism, to express individuality through a range of consumer products. But it was far from boring and was possessed of its own kind of diversity.