Chinese youth in the PRC, both in reality and artistic representation, are significant to the project of national construction. This phenomenon has become less prominent since the 1990s. Indeed, youth in China today is said to be material-oriented, individualistic, and less fervent about politics. Those in the modern revolutionary era, i.e. prior to the death of Mao in 1976, on the contrary, were eager to devote themselves to the nation. This is embodied by numerous heroes and heroines of Chinese novels and films both before and after 1949. The youth in artistic representations preceding 1949, however, tend to consider the issue of China’s modernization and national salvation from a more individualistic perspective. There was, however, another …show more content…
The analysis of the ideal reader of the text paves the way for the rest of the paper. It is through the comparison between the 1950s vision of youth in the text and the actual receptions of its adapted film from different perspectives in the 1980s that proves the uncontrollability of both artistic works and youth by the state. The second section, hence, focuses more on the comparison between the novel and film. It argues that the ideological significance of the text was invented by the state through the adapted cinematic representation. The conspicuous political message of the film is to promulgate the propaganda of Deng’s government in its efforts to pursue economic growth and require youth’s devotion to the new socialist goal. Nevertheless, the wide discussion and varied interpretations of the film by general audience, including the youth generation in the 1980s and those who experienced their youth stage in the 1950s, expose both the vulnerability of the statist control of artistic works and the complex status quo of youth in the post-Mao
Jonathan Spence tells his readers of how Mao Zedong was a remarkable man to say the very least. He grew up a poor farm boy from a small rural town in Shaoshan, China. Mao was originally fated to be a farmer just as his father was. It was by chance that his young wife passed away and he was permitted to continue his education which he valued so greatly. Mao matured in a China that was undergoing a threat from foreign businesses and an unruly class of young people who wanted modernization. Throughout his school years and beyond Mao watched as the nation he lived in continued to change with the immense number of youth who began to westernize. Yet in classes he learned classical Chinese literature, poems, and history. Mao also attained a thorough knowledge of the modern and Western world. This great struggle between modern and classical Chinese is what can be attributed to most of the unrest in China during this time period. His education, determination and infectious personalit...
It's 1996,and we're in Shanghai,China.Anguish and rage is in the air.Why?Because 1996 is when Chairman Mao launched the Cultural Revolution,when intelligence became a crime and a wealthy family background invited persecution' or worse.Ji-Li Jiang is 12-years-old.An outstanding student and leader in her school,she had everything a young girl could want:brains,ability,the admiration of her peers and a shining future in Chairman Mao's New China.Her life was perfect,but with the occurence of the Cultural Revolution,Ji-Li's world begins to crumble.She had an unfortunate situation,her family fell under one o...
After Chairman Mao’s death, Ji-Li and the rest of China realize that he was never the right leader for China and instead of improving China’s society, he actually prevented it. In the end, Ji-Li knows she was brainwashed by Mao’s actions. The Communist Party told them what to wear, read, think, and how to act. They never let China be free to be who they are. It was not until Mao's death that Ji-li began questioning what they were told. “It was only after Mao’s death in 1976 that people woke up. We finally learned that the whole Cultural Revolution had been part of a power struggle at the highest levels of the Party. Our leader had taken advantage of our trust and loyalty to manipulate the whole country.” (Jiang, Chapter 18). Now, as an adult, Ji-li tries to bridge the gap between China and America. She loves the freedom she enjoys in America, especially that she does not have to worry about what she says or thinks, but she does not hate China. People can not use political corruption and injustice to get what they want out of society. Promoting equality and opportunities for all is key to improving society. We can not get behind beating people up or imprisoning them because they did not abide by society’s
Teenager, an age of rebellions is offered the perfect opportunity: to falsely testify against their parents, and became the educable children of Chairman Mao. But for many, the choice is not easy. Specially for the kid from "black" family, similar to main character Jiang; they have to choose between siding with their family, consider a disgrace, going against Chairman Mao's idea, or to be an honorable red guard,and side with the communist party."' Why don't you stay home with him? In case...' 'I've thought about that.' She looked away from my face to the litter on the table. 'But we can't allow personal matters to interfere with revolutionary duties. Especially for an important political assignment like the exhibition.'"(205). That's the idea chairman Mao encouraged, and it clearly separate family from politics. From this other girl point of view, she valued her policies and belief overtook her love for her brother. The action of this girl makes a strong contract to Ji-Li, bother third action define who they are.
“I don’t want to be part of this kind of denying reality. We live in this time. We have to speak out” (Klayman). Ai Weiwei is an internationally known Chinese artist as well as activist, and his motivation and determination can be summed up by this quote. In all of his pieces, Weiwei critically examines the social and administrative issues facing China today. Many of his works exhibit multiple themes that can be interpreted in various different ways. This lends itself to the universal appeal of his art and makes it a more effective medium of conveying his messages to viewers. Ai Weiwei’s activist artwork—and activist artwork in general—is important to society because it effectively forces the viewer to engage in a self-reflective process that makes the viewer critically examine his or her own beliefs and world. Nevertheless, censorship greatly hinders the dissemination of the critical and thought provoking messages of Ai Weiwei’s art and makes his artwork less effective. In order to gain a better understanding of the relationship of Ai Weiwei’s activist art and the Communist Party’s subsequent censorship, I will examine Ai Weiwei’s influential childhood, his specific brand of activist artwork, the censorship of the Chinese government and the effects of censorship on the effectiveness of Ai Weiwei’s art.
Growing up in the People’s Republic is a detailed account of two individual women’s generational struggle during the controversial periods of The Great Leap Forward, the Cultural Revolution and the Cultural Fever of the 1980’s. Their case study tries to define their individual identity growing up in a Communist China. Ma Xiadong and Ye Weili’s life allow the reader to understand the struggle that ensued for the individual at a time of change that was the Cultural Revolution.
In many of the works we have read this year, there have been many critiques to the Chinese Communist ideals. These works solely critique the ideals of communism, and promote change in the way that it is implemented in life. The movie “Blue Kite,” tries to show what life was like under the communist government in China. By showing the people the true agony and suffering during the regime, they hoped to change the ideas of many people about communism. While the majority of scholars and students believe that “Blue Kite” is solely a critique of communistic ideals in China, I believe that it is a promotion of more progressive and democratic ideas shown through the Chinese government emphasis on little to no family life, and the visual and metaphorical
Zhong, Xueping, Zheng Wang, and Bai Di. Some of Us: Chinese Women Growing up in the Mao Era. New Brunswick, NJ: Rutgers University Press, 2001.
...he goal of communism to work towards the benefit of the whole, many would argue that this is not being accomplished in China today. The information that the Chinese government feed to their people is affecting their citizen’s ability to decipher from what is true and what is false. Government-controlled media compare life in China today to life before liberation, where the people lived in poverty. However, many Chinese people of the younger generation view this as the past and instead compare China to its neighboring countries, such as Japan, which has accomplished much more in the same amount of time. The next generation of the Chinese people is determined initiate a change and perhaps a revolution to bring back the true harmony in China where there is trust and a lack of oppression on civil rights, and in result fulfilling Lu Xun’s wish to, “Save the children...”
Dressed in the drab military uniform that symbolized the revolutionary government of Communist China, Mao Zedong's body still looked powerful, like an giant rock in a gushing river. An enormous red flag draped his coffin, like a red sail unfurled on a Chinese junk, illustrating the dualism of traditional China and the present Communist China that typified Mao. 1 A river of people flowed past while he lay in state during the second week of September 1976. Workers, peasants, soldiers and students, united in grief; brought together by Mao, the helmsman of modern China. 2 He had assembled a revolutionary government using traditional Chinese ideals of filial piety, harmony, and order. Mao's cult of personality, party purges, and political policies reflect Mao's esteem of these traditional Chinese ideals and history.
Based on reading the assigned article, “Letter from China – Angry Youth – the New Generation’s Neocon Nationalists,” written by Evan Osnos and published on July 28, 2008, in The New Yorker magazine, I would categorize Chinese nationalism as being civic. Previous to this reading, I had images of the mass assimilation of China and the rejection of western influence under Chairman Mao Tse-Tung shaping my view of China as a nation that was denied nationalism in order to give all for the sake of the Communist Party. Now, I can see that the cause of nationalism is shifting with a new generation that is no longer suppressed, but that has embraced education, technology, and the free exchange of ideas.
Gittings, John. The Changing Face of China: From Mao to market. Oxford University Press, 2005.
Mao’s Cultural Revolution was an attempt to create a new culture for China. Through education reforms and readjustments, Mao hoped to create a new generation of Chinese people - a generation of mindless Communists. By eliminating intellectuals via the Down to the Countryside movement, Mao hoped to eliminate elements of traditional Chinese culture and create a new form Chinese culture. He knew that dumbing down the masses would give him more power so his regime would be more stable. This dramatic reform affected youth especially as they were targeted by Mao’s propaganda and influence. Drawing from his experiences as an Educated Youth who was sent down to the countryside Down to the Countryside movement, Ah Cheng wrote The King of Children to show the effects of the Cultural Revolution on education, and how they affected the meaning people found in education. In The King of Children, it is shown that the Cultural Revolution destroyed the traditional incentives for pursuing an education, and instead people found moral and ethical meaning in pursuing an education.
Considering communist China's recent increased aggression, and deteriorating relations between them and the United States, the dangers of this novel must be weighed carefully. It is often taught in schools, despite the fact that it promotes un-American and anti-capitalist views. With today's political tension, do we really want our youth exposed to literature that encourages them to mistrust the government and supports a communist revolution?
In 1966, Mao mobilized the Chinese youth to initiate the “Cultural Revolution”, a violent process eliminating old Chinese culture, customs, thoughts and habits, purging “counter-revolutionary” party members, and heightening Mao’s personality cult. I will summarize evidence collected from textbooks, official documents, biographies and eyewitness reports about the events between 1959 and 1966. I will describe the failure of the Great Leap Forward, Mao’s resignation as president, his power struggle with Liu Shoaqi and Deng Xiaoping and the propagating of his personality cult. Then I will identify how these events may have given Mao reasons for launching the Cultural Revolution, and whether his motives were of an ideological or selfish nature. After carrying out a Source Evaluation of the “16 Point Directive on the Cultural Revolution” and Jung Chang’s “Mao: The Unknown Story” and analysing my evidence, my essay will answer the question: To what extent were Mao’s motives for starting the Cultural Revolution ideological?