Relevant bibliographies by topics / Maoist and post-Maoist art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Maoist and post-Maoist art'

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Published: 24 April 2022

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Journal articles on the topic "Maoist and post-Maoist art"

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Hanlon, Don L. "Architectural Education in Post-Maoist China." Journal of Architectural Education (1984-) 41, no. 1 (1987): 26. http://dx.doi.org/10.2307/1424905.

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Sullivan, Michael. "Art in China since 1949." China Quarterly 159 (September 1999): 712–22. http://dx.doi.org/10.1017/s0305741000003453.

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Since the Communists came to power in 1949 Chinese art has seen extraordinary changes. For 30 years, the Party apparatus and its Marxist-Maoist ideology exerted so tight a control over cultural life that it is natural for the art of that period to be viewed primarily as a reflection or expression of political forces. To some degree that is unavoidable, and it is the approach taken by the authors of two important books on post-1949 Chinese art, while Jerome Silbergeld's monograph on the Sichuan eccentric painter Li Huasheng is a fascinating study of the way in which these forces affected the life and work of an individual artist.
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Lee, Jennifer Dorothy. "Chasing the sun: Qu Leilei's serial images in early post-Mao China." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 225–41. http://dx.doi.org/10.1386/jcca_00005_1.

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Abstract 'You always treat the sun as though it were yours.' Lining the frame of a pen-and-ink sketch, these words reflect conditions of possibility particular to the contemporaneity of early post-Mao China. Included in his Visual Diary series from the early 1980s, Qu Leilei's image-text turns inward the heavily socialized forms of visual and political expression from the revolutionary era. As instances of the artist's emerging private practice, such works, including etchings, line drawings, and fragments of prose poetry, are seldom addressed in existing scholarship on contemporary Chinese art. This article takes up a selective examination of Qu's diaristic ephemera from this historical moment following the Cultural Revolution (1966‐76) to explore how Qu's entries both maintain and transform aspects of revolutionary-era media and visuality. The article further considers the following questions: In what ways does Qu's Visual Diary reconfigure the serial images of revolutionary state-driven practices in the social landscape of still-Maoist Beijing? How do Qu's transfigured image-texts complicate the rejection of Maoist visual vanguardism in cultural practices after the revolution?
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Lee, Young Ji. "A Utopia of Self-Reliance." positions: asia critique 28, no. 4 (November 1, 2020): 756–88. http://dx.doi.org/10.1215/10679847-8606484.

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This essay examines Maoist China and its deep engagement with local/global capitalism during the Cold War period. It analyzes how the socialist realist utopian images of self-reliant Dazhai, a model village in Shanxi, contributed to the domestic and international image of Maoist China as a socialist country located outside the orbit of global capitalism by focusing on the fundamental predicaments that China, as a developing country, faced in realizing socialism within its territory. These quandaries included a shortage of foreign currencies, a commodity economy, the party-state’s economic policies that prioritized heavy industry, and dependency on trade relationships with capitalist countries. The author’s analysis provides an economic history of political art by juxtaposing socialist realist visual culture during the Learn from Dazhai in Agriculture campaign with the economic conditions of Maoist China enmeshed in the complex chains of commodity production/exchange, international divisions of labor, and worldwide processes of capital accumulation.
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Lin, Zhongxuan, and Yupei Zhao. "Beyond Celebrity Politics: Celebrity as Governmentality in China." SAGE Open 10, no. 3 (July 2020): 215824402094186. http://dx.doi.org/10.1177/2158244020941862.

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This article investigates the crucial political dimension of celebrity. Specifically, it examines celebrities’ great potential for governmentality in the Chinese context by tracing the history of celebrities in Confucian, Maoist, and post-Maoist governmentalities. It concludes that this type of governmentality, namely, celebrity as governmentality, displays uniquely Chinese characteristics in that it is a set of knowledge, discourses, and techniques used primarily by those who govern. It also highlights the central role of the state as the concrete terrain for the application of this mode of governmentality throughout Chinese history. Finally, it notes the always evolving nature of governmentality, as observed in the phenomena of governing from afar and resistance from below. These findings help us rethink the contingent and diversified nature of the phenomena of celebrity and governmentality and challenge Western norms and political theories that covertly employ them.
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Wang, Yang. "Envisioning the Third World: Modern Art and Diplomacy in Maoist China." ARTMargins 8, no. 2 (June 2019): 31–54. http://dx.doi.org/10.1162/artm_a_00234.

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In the mid-1950s, China conducted robust cultural exchange with the Third World in tandem with a parallel political program to influence non-aligned nations in contestation to the Soviet Union and Western powers. This article examines this underrecognized facet of Maoist-era art through the international engagements of two Xi'an artists, Shi Lu (1919–1982) and Zhao Wangyun (1907–1977), who traveled to India and Egypt as cultural attaché of the Chinese state. By tracing the travels of the two artists in light of their artistic and theoretical formulations, this article argues that contact with decolonizing spheres of the Third World inspired Chinese artists to embrace forms of indigenous Chinese art like ink painting in rejection of Euro-American modernism. In solidarity with other non-Western art spheres that developed similar nativist responses to the hegemony of Western modernism, Chinese artists belonged to a global postwar movement to assert political independence through artistic autonomy and national style.
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Hoffmann, Michael. "Unfree labour after the Maoist Revolution in western Nepal." Contributions to Indian Sociology 51, no. 2 (April 26, 2017): 139–62. http://dx.doi.org/10.1177/0069966717697417.

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What does ‘unfree labour’ mean in a post-revolutionary context? Based on an ethnographic fieldwork undertaken between 2008 and 2009 in the far-western lowlands of Nepal, this article argues that the brick kiln owners on the Nepal–India border continued their attempts to bind labour by handing out advances and delaying payments, despite the fact that the state had prohibited all forms of bonded labour under the Bonded Labour Abolition Act of 2001. However, the employers and the workers accepted this system of unfree labour only as long as it remained within certain boundaries. I conclude by suggesting that the Maoist Revolution should be judged as a partial revolution: although it addressed some inequalities, it neglected others due to an ideologically narrow framing of the meaning of unfree labour.
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Ho, Christine I. "The People Eat for Freeand the Art of Collective Production in Maoist China." Art Bulletin 98, no. 3 (July 2, 2016): 348–72. http://dx.doi.org/10.1080/00043079.2016.1150755.

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Winczewski, Damian. "Myśl wojskowa Mao Zedonga." Politeja 15, no. 55 (May 22, 2019): 77–102. http://dx.doi.org/10.12797/politeja.15.2018.55.05.

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Mao Zedong’s Philosophy of WarThe aim of this article was to do some critical analysis of Mao Zedong military writing. Our method was to intepretate his manuscripts and compare his thesis to thesis of top marxists thinkers like Karl Marx, Friedrich Engels, Vladimir Lenin and Rosa Luxemburg about the war and warfare. In next step we also compare Mao strategic thought with thought of classical masters of art of war like Carl von Clausewitz and Sun Zi. Finally we did some comments on political aspects in Maoist theory of war. In result we draw some conclusions. Firstly we can say that Mao did nothing new in marxist philosophy of war and his dialectics of war were vague and vulgar. Secondly we can say that his military writings was mostly influenced by Clausewitz through soviet military thought rather than Sun Zi. In the other hand his theory of guerilla warfare was to some extent original and finally we can describe Mao’s strategic thought as some kind of progress in twenty century art of war.
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Leung, Beatrice. "China's Religious Freedom Policy: The Art of Managing Religious Activity." China Quarterly 184 (December 2005): 894–913. http://dx.doi.org/10.1017/s030574100500055x.

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This article examines how the policy of “religious freedom” has been used to enable the CCP to retain institutional and ideological control over the religious sector of Chinese society. In particular, it looks at how the clash between religious and communist ideologies has evolved, first in the Maoist period and then in the context of reform and openness with the attendant growth of materialism and social change since 1978. A softening in the control of religion to encourage national reconstruction and foreign investment led to a proliferation of religious activity that alarmed Party leaders and triggered a tightening of ideological control and important changes in religious policy. The new policy of “accommodation” and emphasis on “legality” became the watchwords of the Jiang Zemin era. With further development they remain important in the new regime of Hu Jintao.
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Dissertations / Theses on the topic "Maoist and post-Maoist art"

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Wang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.

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Bao, Ying. "In Search Of Laughter In Maoist China: Chinese Comedy Film 1949-1966." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1218342529.

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Donald, Stephanie Jane. "Chinese cinema and civil society in the post-Maoist era." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320224.

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Dapprich, Matthias. "The historical development of West Germany's New Left from a politico-theoretical perspective with particular emphasis on the Marxistische Gruppe and Maoist K-Gruppen." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4692/.

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There is a gap in the existing literature as to why the New Left in West Germany entered a phase of rapid decline by the end of the 1970s. The overarching aim of this thesis is to offer a politico-theoretical explanation for the historical development of the New Left and why the ‘red decade’ between 1967 and 1976/7 ended so abruptly. Within this context, the thesis will focus on the Maoist K-Gruppen and particular emphasis will be placed on the Marxistische Gruppe, which defied the general decline of West Germany’s New Left and developed into its largest organisation during the 1980s. Furthermore, the Red Cells movement will be analysed from which both currents emerged in the wake of the student movement. Key works of the Marxistische Gruppe will be analysed with particular emphasis on politico-theoretical aspects. The analysis of the group’s theoretical work will provide a better understanding of the New Left’s historical developments against the background of the changing political environment. This thesis will conclude with reflections on developments of the radical left after the collapse of the New Left in 1989/91 and how the red decade’s legacy is still prominent in the work of the Gegenstandpunkt publishing house (the Marxistische Gruppe’s ideological successor). In conclusion, this thesis will reveal that the influence of politico-theoretical aspects on the historical development of the New Left has been given too little consideration and that the New Left’s fate cannot be adequately explained by external factors, but demands the consideration of the very development of theories and the practical conclusions organisations reached regarding their social, economic and cultural circumstances. This work will be the first to provide an insight into the potential of such a theoretical explanation for an understanding of the specific developments of the post-1968 West German New Left.
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Zharkevich, Ina. "'Changing times' : war and social transformation in Mid-Western Nepal." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:64d6de22-631c-4bb6-988a-d416eeb897fd.

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This thesis is an ethnographic account of social change, triggered by the civil war in Nepal (1996-2006). Based on an ethnographic fieldwork in the village of Thabang, the war-time capital of the Maoist base area, this thesis explores the transformative impact of the conflict on people’s everyday lives and on the constitution of key hierarchies structuring Nepali society. Rather than focusing on violence and fear – the commonly researched themes in warzones – the thesis examines people’s everyday social and embodied practices during the war and its aftermath, arguing that these remain central to our understanding of war-time social processes and the ways in which they shape the contours of post-conflict society. By focusing on mundane practices – such as meat-eating and alcohol-drinking, raising livestock and worshipping gods – the thesis demonstrates how change at the micro-level is illustrative of a profound transformation in the social structures constituting Nepali society. Theoretically, the thesis seeks to understand how the situation of war re-orders society: in this case, how people in the Maoist base area interiorized formerly transgressive norms and practices, and how these practices were normalized in the post-conflict environment. The research revealed that much of the change triggered by the conflict came as a result of the ‘exceptional’ times of war and the necessity to follow ‘rules that apply in times of crisis’. Thus, in adopting transgressive practices during the conflict, people were responding to the expediency of war-time rather than following Maoist war-time policies or ‘propaganda’. Furthermore, while adopting hitherto unimaginable practices and making them into habitual action, people transformed the rigid social structures, without necessarily intending to do so. The thesis puts particular stress on the centrality of unintended consequences in social change, the power of embodied practice in making change real, and the ways in which agency and structure are mutually constitutive.
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Lee, Young Ji Victoria. "Recoding Capital: Socialist Realism and Maoist Images (1949-1976)." Diss., 2014. http://hdl.handle.net/10161/9413.

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This dissertation examines the visual production of capital in socialist realist images during the Maoist era (1949-1976). By deconstructing the pseudo-opposition between capitalism and socialism, my research demonstrates that, although the country was subject to the unchallenged rules of capital and its accumulation in both domestic and international spheres, Maoist visual culture was intended to veil China's state capitalism and construct its socialist persona. This historical analysis illustrates the ways in which the Maoist regime recoded and resolved the versatile contradictions of capital in an imaginary socialist utopia. Under these conditions, a wide spectrum of Maoist images played a key role in shaping the public perception of socialism as a reality in everyday lives. Here the aesthetic protocols of socialist realism functioned to create for the imagined socialist world a new currency that converted economic values, which followed the universal laws of capital, into the fetish of socialism. Such a collective "cognitive mapping" in Fredric Jameson's words - which situated people in the non-capitalist, socialist world and inserted them into the flow of socialist time - rendered imperceptible a mutated capitalism on the terrain of the People's Republic of China under Mao. This research aims to build a conversation between the real, material space subordinated to the laws of capital and the visual production of imaginary capital in the landscapes of socialist realism, for the purpose of mapping out how uneven geographical development contributed to activating, dispersing, and intensifying the global movement of Soviet and Chinese capital in the cultural form of socialist realism. This study also illustrates how, via the image-making process, socialist realist and Maoist images influenced by Mao's romantic vision of the countryside were meant to neutralize this uneven development in China and mask its on-going internal colonialism. Through this analysis, I argue that, in the interesting juncture where art for art's sake and art for politics intersected, Maoist visual culture ended up reproducing the hegemony of capital as a means of creating national wealth.


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Bobrowska, Olga. "Tendencje i nurty w chińskim filmie animowanym 1957-1989." Praca doktorska, 2020. https://ruj.uj.edu.pl/xmlui/handle/item/269473.

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Rozprawa podejmuje problematykę ideologicznego uwikłania chińskiej kinematografii animowanej (struktur, poetyk, poszukiwań artystycznych) w ulegającą przemianom na przestrzeni XX wieku doktrynę maoistowską. Historyczno-filmowy tok wywodu konstruowany jest w oparciu o metody historycyzacji, kontekstualizacji, krytyki ideologicznej, analizy narratologicznej oraz narzędzi badawczych wypracowanych na gruncie badań nad festiwalami filmowymi (badania archiwalne), przy czym rozprawa posiada charakter interdyscyplinarny. Cztery części pracy przedstawiają najistotniejsze tendencje i nurty chińskiego filmu animowanego na szerokim tle przemian społecznych, politycznych i kulturowych: 1) trend propagandowy z lat 1947-1973; 2) styl narodowy (minzu) z lat 1957-1988; 3) tendencja przepracowania dziedzictwa (studium przypadku: film Zamęt w niebie, 1961-1964); 4) tendencje modernizacyjne oraz wejście chińskiej animacji w globalną dystrybucję festiwalową (1978-1992). Chiński film animowany ujawnia dyspozycję do niesienia i reprodukowania odgórnie narzuconych znaczeń ideologicznych. Odnajdywane w tkance analizowanych filmów potencje eksperymentu, krytyki społecznej bądź eskapizmu ujawniają wewnętrzne sprzeczności i napięcia generowane przez jedynie pozornie monolityczną doktrynę, na jakiej ufundowany został totalitaryzm i autorytaryzm Chińskiej Republiki Ludowej XX wieku.
Presented dissertation discusses the problems of an ideological entanglement of the Chinese animation cinematography (structures, poetics, artistic pursuits) within the Maoist doctrine along its transformations in the course of the 20th century. The argumentation of this interdisciplinary study in film history is grounded in the methods of historicization, contextualization, ideological criticism and concepts derived from the field of film festival studies (archive-based research). Four chapters outline the most significant tendencies and trends occurring within the Chinese animated cinema against the wide background of social, political and cultural transformations: 1) propagandistic trends of the period 1947-1972; 2) national (minzu) style of the period 1957-1988; 3) cultural heritage remoulding tendency (case study: Havoc in Heaven, 1961-1964); 4) modernization tendencies and Chinese animation opening-up towards global festival distribution (1978-1992). Chinese animated film appears predisposed to convey and reproduce top-down established ideological meanings. Nevertheless, the qualities of experimentation, social criticism and escapism that may be found within the tissue of an analyzed film material reveal inner contradictions and tensions generated by the seemingly monolithic doctrine upon which totalitarian and authoritarian system of the 20th century People's Republic of China has been established.
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Su, Si-jin. "The dynamics of market-oriented growth of Chinese firms in post-Maoist China an institutional approach /." 1994. http://catalog.hathitrust.org/api/volumes/oclc/32900236.html.

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Sorace, Christian Phillip. "Beyond repair : state-society relations in the aftermath of the 2008 Wenchuan earthquake." Thesis, 2014. http://hdl.handle.net/2152/28070.

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My dissertation offers insight into the political epistemology of the Chinese Communist Party and state on the basis of their activities during the post-2008 Wenchuan earthquake reconstruction. By “political epistemology,” I mean how the Party thinks about the nature of politics, including but not limited to the role of the state in the economy. An important facet of this approach is taking seriously the CCP’s distinctive manner of thinking, writing, and talking about politics that is too often dismissed as empty jargon that means little in post-Mao China. I show how a Maoist conception of politics remains at the bedrock of how the CCP understands its own political identity and actions. Certainly, many of the salient features of Maoism have been discarded, such as the emphasis on class struggle, continuous revolution, and the role of the masses in political movements. Despite these trends toward de-politicization and technocracy, the Party’s confidence in the rationality of its planning apparatus and in its ability to mobilize politically to achieve the ends of market construction and biopolitical social transformation constitutes what I call Maoist neo-developmentalism. Each of my empirical case chapters examines a localized combination of post-disaster reconstruction with a national strategy for long-term, “great leap” development. Thus, each chapter traces how the Party’s plans to capitalize the countryside - by way of urbanization, tourism, and ecology – have become stuck in transitional processes. The spectacular market transitions and transformations envisioned by Party leaders became cycles of state investment in local economies that only function by virtue of continued state involvement. The Party’s massive expenditures of maintaining the appearance of success, however, generated local resentment at perceived waste, indifference, and corruption. Each case chapter shows evidence not so much of social resistance to the state (although of course that happened, too) but an intimate negotiation between state and society of high expectations, broken promises, and frustrations. I argue that these “perforations” deep within the tissue of the state-society relationship only make sense when viewed from the context of a Maoist social contact in which the Party’s legitimacy depends on its perceived ability to serve the people.
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Books on the topic "Maoist and post-Maoist art"

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Maoist people's war in post-Vietnam Asia. Bangkok, Thailand: White Lotus Press, 2007.

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Zhu, Ping, Zhuoyi Wang, and Jason McGrath, eds. Maoist Laughter. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528011.001.0001.

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This volume aims to restore laughter to its proper position in the Mao-era culture. The Mao era was actually a period when laughter was bonded with political culture to an unprecedented degree. Spurred by dynamic political exigencies, many cultural products sought to utilize laughter as a more pliable form of political expression. Laughter was used to highlight antagonisms or downplay differences, to expose and ridicule the class enemy, or to meliorate and conceal contradictions; it could be ritualistic or heartfelt, didactic or cathartic, communal or utopic. In Maoist culture, laughter became a versatile discourse that brought together the political, the personal, the aesthetic, the ethical, the affective, the physical, the aural, and the visual. Therefore, the art of laughter was carefully moderated and regulated for political ends. Maoist laughter reveals the diversity, complexity, dynamics, and inner contradictions in the cultural production and reproduction in Mao’s China.
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Museum Representations of Maoist China: From Cultural Revolution to Commie Kitsch. Taylor & Francis Group, 2014.

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Barnes, Amy Jane. Museum Representations of Maoist China: From Cultural Revolution to Commie Kitsch. Taylor & Francis Group, 2017.

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Shen, Kuiyi. Shaping the “Red Classics” of Chinese Art in Early Socialist China. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390892.003.0005.

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Traditional Chinese art was tied closely to the ruling elites of imperial China and therefore presented a particular challenge to the new communist regime seeking to establish a new proletarian culture in the 1950s. This chapter throws light on the way established traditional painters and artists were managed and their art reshaped through the application of principles set down in the Yan’an Talks and a deliberate “modernization” of traditional Chinese painting. It argues that in the case of guohua the tension between old forms and new content was not just resolved but led to invigoration and innovation in the field and produced some of the greatest public artworks of the Maoist period
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McDougal, Topher L. Trade Networks and the Management of the Combat Frontier. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792598.003.0007.

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This chapter fleshes out the causal mechanisms motivating the results of Chapter 5 with interviews of traders who cross the Maoist territorial border. It contends the hierarchical form of the caste-based Indian society gives rise to trade networks in which a caste-based division of labor arises: lower-castes engage in local trade, higher-castes in long-distance trade. By enforcing the caste bar on tribal people in long-distance trade, long-distance traders ensure that trade taking place between Maoist-held hinterlands and government-controlled cities remains in the hands of an elite few. Those elite long-distance traders can then strike deals with Maoist cells for trade access, thereby incentivizing Maoists to firmly hold onto their own territory, while discouraging them from taking over such profitable towns. Moreover, this mechanism helps explain why well-connected towns are less violently targeted by rebels: they tend to have more upper-caste traders, limiting their bargaining power vis-à-vis Maoist cell leaders.
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Lin, Jenny. Above Sea. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.001.0001.

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Shanghai, long known as mainland China’s most cosmopolitan metropolis, has recently re-emerged as a global capital. Above sea: Contemporary art, urban culture, and the fashioning of global Shanghai offers the first in-depth examination of turn of the twenty-first century Shanghai-based art and design – from state-sponsored exhibitions to fashionable cultural complexes to cutting edge films and installations. This book offers a counter-touristic view of one of the world’s fastest developing megacities that penetrates the contradictions and buried layers of specific locales and artifacts of visual culture. Informed by years of in-situ research including interviews with artists and designers, the book looks beyond contemporary art’s global hype to reveal persistent socio-political tensions accompanying Shanghai’s explosive transitions from semi-colonial capitalism to Maoist socialism to Communist Party-sponsored capitalism. Analyses of exemplary design projects such as Xintiandi and Shanghai Tang, and artworks by Liu Jianhua, Yang Fudong, Gu Wenda and more reveal how Shanghai’s global aesthetics construct glamorizing artifices that mask historically-rooted cross-cultural conflicts between vying notions of foreign-influenced modernity versus anti-colonialist nationalism, and the city’s repressed socialist past versus consumerist present. The book focuses on Shanghai-based art and design from the 1990s-2000s, the decades of the city’s most rapid post-socialist development, while also attending to pivotal Republican and Mao Era examples. Challenging the “East-meets-West” clichés that characterize discussions of urban Shanghai and contemporary Chinese art, this book illuminates critical issues facing today’s artists, architects, and designers, and provides an essential field guide for students of art, design, art history, urban studies, and Chinese culture.
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Peresutoroika to kaikaku, kaiho: Chu-So hikaku bunseki = Reforms in post-Maoist China and perestroika : A comparison. Tokyo Daigaku Shuppankai, 1993.

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1934-, Kondō Kuniyasu, and Wada Haruki, eds. Peresutoroika to kaikaku, kaihō: Chū-So hikaku bunseki = Reforms in post-Maoist China and perestroika : a comparison. Tōkyō: Tōkyō Daigaku Shuppankai, 1993.

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Li, Jie. “Are our drawers empty?”. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.14.

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Borrowing from literature scholar Chen Sihe’s concept of “drawer literature,” referring to literature written during the Maoist period but which could not be published until years later (if at all), this chapter proposes a related concept of “dossier literature.” Rather than looking at literary works that have been stuffed away into figurative drawers because they could not be openly published, this chapter instead looks at the writings that may be found in the dossiers maintained by the state on individual writers and intellectuals. The analysis focuses in particular on writings in the dossier of the writer Nie Gannu in order to help undo the dichotomy between “good literature” and “bad politics” and to paint an ambivalent picture of intellectual survival under dictatorship.
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Book chapters on the topic "Maoist and post-Maoist art"

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Braester, Yomi. "The Post-Maoist Politics of Memory." In A Companion to Modern Chinese Literature, 434–51. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118451588.ch27.

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Gregor, A. James. "The Ideology of Post-Maoist China." In Marxism and the Making of China, 211–36. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137379498_10.

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Guillerez, Emilie. "Writing Ambivalence: Visions of the West in Republican and Post-Maoist Chinese Literature." In Intercultural Masquerade, 135–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-47056-5_9.

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Guo, Li. "Humor, Vernacularization, and Intermedial Laughter in Maoist Pingtan." In Maoist Laughter, 105–20. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528011.003.0007.

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This chapter explores how humor in Maoist pingtan tales facilitated the vernacularization of the tastes and practices of popular culture, and revamped pingtan into an ideal media of socialist new comedy. Adaptations of pingtan tales through film, folk performances, and radio broadcasted songs facilitated the vernacularization of new notions of the self and the nation, generated intermedial laughter in various taste cultures and media territories, and instigated the individuals’ negotiation and interaction with multivalent socio-political ideals. Guo argues that vernacularization of Maoist pingtan, which allowed multiple styles to bleed into this classic storytelling art, was a process of necessity and accommodation in Maoist China when revolutionary linguistic codes are transposed into traditional arts, as well as the shifting relationships between individuals and the nation-state community.
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Crespi, John A. "Propaganda, Play, and the Pictorial Turn." In Maoist Laughter, 123–46. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528011.003.0008.

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“Propaganda, Play, and the Pictorial Turn” re-visits the early Peoples Republic of China cartoon by contextualizing this form of popular art within the media ecology of the illustrated magazine. Focusing on the first several years (1950-1952) of the satire pictorial Cartoon, the essay questions the tendency to read early Mao-era cartoon art strictly in terms of Cold War binaries, arguing instead for attention to cartoons as just one among many dynamically interrelated, heterogeneric elements comprising the print genre of the illustrated magazine or huabao. Cartoon is to a significant extent a lineal descendent of Republican-era, Shanghai-based huabao whose varied imagetext contents encouraged forms of spectatorship historically linked to practices of urban consumerist play. The primary concern for the artists and editors of Cartoon, then, was adapting this existing visual technology of print to promote active forms of socialist play aligned with the political and educational goals of mass mobilization.
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Zhu, Ping. "Introduction: The Study of Laughter in the Mao Era." In Maoist Laughter, 1–16. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528011.003.0001.

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In the famous xiangsheng 相聲‎ (cross talk) “The Study of Laughter” (“Xiao de yanjiu” 笑的研究‎, 1958),1 which had been performed by celebrated comedian duo Hou Baolin 侯寶林‎ and Guo Quanbao 郭全寶‎ since the late 1950s, Hou promotes xiangsheng as an art of laughter that can boost people’s physical well-being. Citing contemporary medical sciences and the Chinese proverb “A good laugh makes one younger” (Xiaoyixiao, shaoyishao ...
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Lu, Xiaoning. "Intermedial Laughter." In Maoist Laughter, 73–88. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528011.003.0005.

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The first wave of film comedy in socialist China enjoyed only an ephemeral presence amidst the Hundred Flowers Campaign. This chapter turns attention to the intersection of and interaction between cinema and the traditional Chinese performing art of xiangsheng in the mid-1950s, seeking to tease out an innovative strand of comic filmmaking in the Mao era. Specifically, it takes as its case study the xiangsheng dianying (crosstalk film) of 1956, Wandering in the Zoo, Awaking from a Dream (Youyuan jingmeng), starring the well-known xiangsheng duo of Hou Baolin and Guo Qiru. Through an introduction of xin xiangsheng, a new type of xiangsheng created for the new Chinese society and a careful textual analysis of this particular xiangsheng dianying, the chapter illustrates that the interplay of xiangsheng and film, as seen in Wandering in the Zoo, Awaking from a Dream, transfigured each of the two media, increased much of the viewing pleasure of this film, and provided an understanding of the specificities of both xiangsheng and film. This rather ingenious experimentation of dynamical intermediality demonstrates that laughter under Mao could be innovative and experimental.
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Longoni, Ana. "Maoist imaginaries in Latin American art." In Art, Global Maoism and the Chinese Cultural Revolution. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526117472.00019.

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"Liberation, Maoist Campaigns, and Cartoons, 1949–1976." In Comics Art in China. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496811745.003.0004.

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Meng, Jing. "Beyond Nostalgia." In Fragmented Memories and Screening Nostalgia for the Cultural Revolution, 66–92. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528462.003.0004.

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In Chapter 3, 11 Flowers represents personal and fragmented memories of the Cultural Revolution from an 11-year-old boy’s perspective. These memories challenge the monolithic narrative of history and the Maoist rhetoric of revolution. At the same time, this fragmented narrative mode enables individual agency in narrating and constructing history. In addition, through portrayals of everyday life in the Maoist era, the film reveals how the dominant ideology at that time was strategically misinterpreted by ordinary people and was dispersed in everyday life. Socialism, in this context, becomes a mystery, a joke, and a traumatic awakening. In the lm, art possesses enlightening power for the 11-year-old boy, who begins to obtain self-awareness through painting. The film thus conveys the director’s authorial enunciation and his belief in art as a form of liberation, not only for a boy in the Cultural Revolution but also for Wang Xiaoshuai as a film-maker. The shifting trajectory of Wang’s film-making—from independent to art house—alludes to the shifting relations between film-making, the state, and the market. In 11 Flowers, personal memories become the hallmark of Wang’s auteur expression.
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