scholarly journals Zhao Jiping and the sound of resistance in Red Sorghum

2015 ◽  
Vol 56 (4) ◽  
pp. 355-366
Author(s):  
Brian C. Thompson
Keyword(s):  
Cultural Revolution ◽  
Rural China ◽  
Nobel Laureate ◽  
Mao Zedong ◽  
Musical Language ◽  
Mo Yan ◽  
Cultural Expression ◽  
Concert Music ◽  
The Impact ◽  
The Cultural Revolution

Since seizing power in 1949, China’s Communist Party has exerted firm control over all aspects of cultural expression. This policy took its most radical turn in the mid-1960s when Mao Zedong launched the Cultural Revolution (1966–1976), aiming to rid the country of bourgeois elements. The composer Zhao Jiping was a student at the Xi’an Conservatory during this period. He graduated in 1970, but was able to continue his studies only when the Central Conservatory reopened in 1978. On completing his studies, he established himself as a composer of folk-inspired music for film and the concert stage. This paper focuses on Zhao’s score for director Zhang Yimou’s Red Sorghum (Hong gao liang, 1987), a film based on the 1986 novel by 2012 Nobel laureate Mo Yan. While the composer enjoyed only limited recognition beyond China, he went on to score other successful films, among them Raise the Red Lantern (1991) and Farewell, My Concubine (1993), and achieve success as a composer of concert music. The paper connects Zhao’s musical language to the impact of the Cultural Revolution by examining how in Red Sorghum his music was employed to evoke a virile image of rural China.

Slow Growth of Labour Productivity in Chinese Industry, 1952–81

1983 ◽  
Vol 96 ◽  
pp. 641-664 ◽  
Author(s):  
Robert Michael Field
Keyword(s):  
Cultural Revolution ◽  
Slow Growth ◽  
Labour Productivity ◽  
Chinese Economy ◽  
Mao Zedong ◽  
The Past ◽  
Chinese Industry ◽  
The Impact ◽  
The Cultural Revolution

Since the death of Mao Zedong in the autumn of 1976, Beijing's economic advisers have been trying to explain what went wrong with the Chinese economy during the past 25 years and, in particular, why the growth of productivity has been so slow. Their findings are pieced together in the series shown in Tables 1 and 2. These Figures demonstrate the impact of the Leap Forward (1958–60), the Cultural Revolution (1966–69), and the final struggle against the “gang of four“ (1976).

A Decade of Upheaval

2021 ◽  
Author(s):  
Andrew G. Walder ◽  
Dong Guoqiang
Keyword(s):  
Cultural Revolution ◽  
Urban Areas ◽  
Armed Forces ◽  
Mao Zedong ◽  
Chinese History ◽  
Rural Regions ◽  
Political Conflicts ◽  
Modern Chinese History ◽  
Political Groups ◽  
The Cultural Revolution

This book chronicles the surprising and dramatic political conflicts of a rural Chinese county over the course of the Cultural Revolution. The book uncovers a previously unimagined level of strife in the countryside that began with the Red Guard Movement in 1966 and continued unabated until the death of Mao Zedong in 1976. Showing how the upheavals of the Cultural Revolution were not limited to urban areas, but reached far into isolated rural regions, the book reveals that the intervention of military forces in 1967 encouraged factional divisions in Feng County because different branches of China's armed forces took various sides in local disputes. The book also lays bare how the fortunes of local political groups were closely tethered to unpredictable shifts in the decisions of government authorities in Beijing. Eventually, a backlash against suppression and victimization grew in the early 1970s and resulted in active protests, which presaged the settling of scores against radical Maoism. A meticulous look at how one overlooked region experienced the Cultural Revolution, the book illuminates the all-encompassing nature of one of the most unstable periods in modern Chinese history.

Chinese Art of the Cultural Revolution

2018 ◽  
Author(s):  
William H. Ma
Keyword(s):  
Young People ◽  
Cultural Revolution ◽  
Mao Zedong ◽  
Chinese Art ◽  
Political Propaganda ◽  
The Arts ◽  
Cultural Sites ◽  
The Masses ◽  
Visual Materials ◽  
The Cultural Revolution

The art of the Cultural Revolution in China, created during the ten-year period from 1967 to 1977, includes a large variety of visual materials in different media. Generally characterized by unambiguous and heroic images that appealed to the masses, these artworks became powerful tools of political propaganda. Most scholars attribute the beginning of the Cultural Revolution to the 1965 play HaiRui Dismissed from Office. Written by Wu Han, a local Communist official, the play was a thinly veiled critique of Mao Zedong. Though semi-retired in the early 1960s, Mao was determined to hold on to power by launching a new revolution to reawaken young Chinese people and root out the counterrevolutionary and anti-proletarian elements in society. Under Mao’s directive, people, places, and things representing the Four Olds (Old Customs, Old Culture, Old Habits, and Old Ideas) were targeted and violently attacked by young people wearing red armbands and carrying the Little Red Book, a collection of quotes by Mao. Party officials, teachers, professors, authors, and artists had their homes raided and were publically dragged out by the Red Guards for public humiliation. In addition, historical and cultural sites were desecrated and vandalized. While the real violence only lasted the first few years, it set the tone of militarism and revolutionary fervor for the next decade, which permeated through all the arts.

The Performance of Industry During the Cultural Revolution: Second Thoughts

1986 ◽  
Vol 108 ◽  
pp. 625-642 ◽  
Author(s):  
Robert Michael Field
Keyword(s):  
Cultural Revolution ◽  
Mao Zedong ◽  
Social Upheaval ◽  
The Cultural Revolution

Mao Zedong, dissatisfied with the growing ossification of the Party and government bureaucracies, in the spring of 1966 launched the Great Proletarian Cultural Revolution. He believed that China's youth required a “revolutionary experience” to renew their faith in a revolution that had taken place before most of them had been born or were old enough to remember. The Cultural Revolution (1966–76) quickly became a period of widespread, often violent, social upheaval that affected the performance of industry.

scholarly journals China: The Impact of the Cultural Revolution

1979 ◽  
Vol 13 (1) ◽  
pp. 136
Author(s):  
Melvin T. L. Ang ◽  
Bill Brugger ◽  
Andres D. Onate
Keyword(s):  
Cultural Revolution ◽  
The Impact ◽  
The Cultural Revolution

The Impact of the Cultural Revolution in China on the Mongolians of Inner Mongolia

1994 ◽  
Vol 28 (2) ◽  
pp. 409-430 ◽  
Author(s):  
David Sneath
Keyword(s):  
Cultural Revolution ◽  
Government Policy ◽  
Inner Mongolia ◽  
The Political ◽  
The West ◽  
Autonomous Region ◽  
News Reports ◽  
The Subject ◽  
The Impact ◽  
The Cultural Revolution

A number of papers have been written in the west on the subject of the Cultural Revolution in Inner Mongolia. Hyer and Heaton's (1968) account of the period in the China Quarterly deals with events up until 1968, and relies heavily upon an analysis of the news reports broadcast by Radio Inner Mongolia at that time. The paper focuses upon the fate of Ulanhu, the Chairman of the Inner Mongolian Autonomous Region who fell from power during the Cultural Revolution. Hyer and Heaton are concerned primarily with the power struggles within the political apparatus, and they include no first-hand or eyewitness accounts. The paper gives no indication of the effects of the Cultural Revolution upon the great bulk of the population of the I.M.A.R., either Mongolian or Han Chinese. However, the article does carefully document the rapidly changing tide of Inner Mongolian government policy and the emergence of populist groups which challenged the political establishment, over the period 1965 to 1968.

scholarly journals Red Guard Movement in the First Years of “Cultural Revolution” in China (1966—1967): View of Domestic and Foreign Researchers

2020 ◽  
Vol 1 (8) ◽  
pp. 346-366
Author(s):  
V. V. Bondareva
Keyword(s):  
Cultural Revolution ◽  
Mass Movement ◽  
Point Of View ◽  
Mao Zedong ◽  
Personal Attitude ◽  
Documentary Sources ◽  
State Apparatus ◽  
Personal Qualities ◽  
Red Guards ◽  
The Cultural Revolution

The article analyzes the first years of “the cultural revolution” in China (1966—1967), characterized by high revolutionary activity of students and school youth, organized into groups of “red guards”, who were distinguished in their actions by extreme cruelty and fanaticism. From this point of view, the destructive actions of the red guards, which were of a terrorist and mass nature, highlight the main direction of their revolutionary strike, which was inflicted on the party and state apparatus of China. Mao Zedong is presented as the initiator of a mass movement of red guards who used monstrous terrorist methods to fight his opposition and all, from their point of view, not enough politically conscious elements. The hongweibing movement, considered as an instrument of Mao Zedong’s struggle with the opposition, allows to reveal in the course of research the personal qualities of a leader who, in the name of establishing his own cult, was not afraid to deliberately plunge the entire country into mass and deeply disorderly turmoil. The detailed description of Mao Zedong’s personal attitude to what is happening, based on documentary sources, reveals the deeply dictatorial and anti-democratic nature of his power, which was asserted in the first years of “the cultural revolution” with the help of the red guards movement.

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