By Haiqing Yu

This e-book examines the function performed through the media in China’s cultural transformation within the early years of the twenty first century. unlike the conventional view that sees the chinese language media as not anything greater than a device of communist propaganda, it demonstrates that the media is critical to China’s altering tradition within the age of globalization, when additionally being half and parcel of the country and its undertaking of re-imagining nationwide id that's necessary to the post-socialist reform time table. It describes how the Party-state can successfully use media occasions to drag social, cultural and political assets and forces jointly within the identify of nationwide rejuvenation. besides the fact that, it additionally illustrates how non-state actors may also use reporting of media occasions to dispute professional narratives and increase their very own pursuits and views. It discusses the results of this interaction among nation and non-state actors within the chinese language media for conceptions of id, citizenship and ethics, determining the parts of mutual lodging and appropriation, in addition to these of clash and contestation. It explores those subject matters with specified research of 4 vital ‘media spectacles’: the media occasions surrounding the hot millennium celebrations; the scoop reporting of SARS; the media tales approximately AIDS and SARS; and the media crusade conflict among the chinese language kingdom and the Falun Gong circulate.

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Extra resources for Media and Cultural Transformation in China (Media, Culture and Social Change in Asia Series)

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Wang 2001: 3) The earlier analysis has shown that the interplay among different socio-cultural agents suggests boundary crossing between the official and unofficial, intellectual and popular, local and global. Media producers and consumers alike can creatively use the media and communication networks to produce counter-narratives that challenge, appropriate and accommodate the dominant ideology, and vice versa. The media and communication networks are conducive to the formation of new mediated public spaces that allow people to devise new ways to imagine subjectivity and identity and, hence, citizenship and ethics.

Their subjectivity and identity are not simply manipulated by the ‘culture industry’ (to borrow from Theodor Adorno) and controlled by the ‘ideological apparatuses’ of the state (à la Louis Althusser), but can be reinvented and re-negotiated. 7 The mass media have played an important role in pluralising and differentiating Mao’s mass public. They have also helped to shape media publics according to gender, class, age, ethnicity, region and occupation. 8 It also contributes to transnational imagination and subjectivity for individuals both inside and outside China through transborder travelling and imagined travelling (Sun 2002a).

This post-New Era popular culture displays an elastic and eclectic nature. It interplays: (1) with transnational cultures and hence acquires a hybrid and translocal character; (2) with the anti-elitist intellectual narrative (represented by popular music and popular literature) to produce a subculture that is both against the official communism and intellectual elitism and coterminous with them; and (3) with the official culture and forms an inter-textual relationship with the latter. Through this interplay, popular culture producers (such as the rock n’roll star Cui Jian and the ‘hooligan’ writer Wang Shuo) ‘mix oppositional and cooptational energies and messages’ with the dominant ideology, while at the same time the party is able to ‘incorporate, appropriate, and “domesticate”’, rather than oppose and suppress, the former (Lu 2001: 203, 206).

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