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Moulding the Socialist Subject
Cinema and Chinese Modernity (1949-1966)
ä¸ç¼ï¼- Ideas, History, and Modern China, å·ï¼ 22
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What role did cinema play in the Chinese Communist Partyâs political project of shaping ideal socialist citizens in the early Peopleâs Republic? In Moulding the Socialist Subject, Xiaoning Lu deploys case studies from popular film genres, movie star culture and rural film exhibition practices to argue that Chinese cinema in 1949â1966, at once an important political instrument, an enjoyable yet instructive form of entertainment, and a specific manifestation of the socialist society of the spectacle, was an everyday site where the moulding of the new socialist person unfolded. While painting a broad picture of Chinese socialist cinema, Lu credits the human agency of film professionals, whose self-reflexivity and individual adaptability played an intrinsic role in the Partyâs political project.
Xiaoning Lu is Lecturer in Modern Chinese Culture and Language at SOAS, University of London and co-editor of The Oxford Handbook of Communist Visual Cultures (Oxford University Press, 2020).
"Moulding the Socialist Subject by Xiaoning Lu is a concise yet insightful book. It addresses the instrumental role of cinema in textual form and as a state apparatus in âremouldingâ (æ¹é , pp. 5 and 165) socialist subjectivity, as well as the intersection and interaction of cinema with other key discourses such as sport, ethnicity, theatre, melodrama, spectatorship/reception, and the urban/rural dichotomy. [...] Moulding the Socialist Subject is a welcome addition for students who love diverse movies, the general public eager to understand the âstructure of feelingâ prevalent in a socialist regime, and scholars of China studies."
-Lunpeng Ma, Communication University of Zhejiang, in China information, Vol 35 (2021), pp. 113-114
"The book provides clearly written and engagingly illustrated pathways to understand the underlying histo-ries of contemporary conundrums"
-Stephanie Donald, Monash University Malaysia, in The China Journal , No. 86, July 2021, pp. 208-210
-Lunpeng Ma, Communication University of Zhejiang, in China information, Vol 35 (2021), pp. 113-114
"The book provides clearly written and engagingly illustrated pathways to understand the underlying histo-ries of contemporary conundrums"
-Stephanie Donald, Monash University Malaysia, in The China Journal , No. 86, July 2021, pp. 208-210
Acknowledgements
Figures
Introduction
â1âThe Socialist Subject for a New China (1949â1966)
â2âCinema within a Socialist Society of Spectacle
1 Terror and Mass Surveillance: the Counterespionage Film
â1âThe Counterespionage Film and Political Campaigns against Counterrevolutionaries
â2âCinematic Articulation of Mass Surveillance: The Might of the People
2 The New Physical Culture and Volatile Attractions: the Sports Film
â1âThe New Physical Culture
â2âPromoting Workersâ Sport and Heterogeneous Laughter: Trouble on the Basketball Court and Big Li, Young Li and Old Li
â3âSports, Ethics, and Melodramatic Imagination: Woman Basketball Player No. 5 and Ice-Skating Sisters
3 Ethnicity and Socialist Fraternity: the National Minority Film
â1âReconfiguring the Ethnic Landscape: From Ethnicity to Nationality
â2âThe National Minority Film
â3âFlames of War in a Border Village: Cross-Ethnic Performance and the Politics of Recognition
â4âDaji and Her Fathers from Page to Screen: Typifying Ethnic Fraternity in Socialist China
4 Modeling the Model: Red Stardom
â1âProblematizing âthe Starâ
â2âStar Image
â3âThe Stanislavski System and Modeling the Red Star
5 The Cultural Politics of Affect: Villain Stardom
â1âNegative Characters, Performance Context, and Production of Affect
â2âVillain Performance as Negative Pedagogy
6 Mobile Attraction: Itinerant Film Projectionists and Rural Cinema Exhibition
â1âItinerant Film Projection: a New Attraction in Rural China
â2âRural Film Exhibition: Problems and Challenges
â3âFilm Projectionists and Their Machines
â4âFilm Projectionists and Their Exhibition Practices
Conclusion
Bibliography
Filmography
Index
Figures
Introduction
â1âThe Socialist Subject for a New China (1949â1966)
â2âCinema within a Socialist Society of Spectacle
1 Terror and Mass Surveillance: the Counterespionage Film
â1âThe Counterespionage Film and Political Campaigns against Counterrevolutionaries
â2âCinematic Articulation of Mass Surveillance: The Might of the People
2 The New Physical Culture and Volatile Attractions: the Sports Film
â1âThe New Physical Culture
â2âPromoting Workersâ Sport and Heterogeneous Laughter: Trouble on the Basketball Court and Big Li, Young Li and Old Li
â3âSports, Ethics, and Melodramatic Imagination: Woman Basketball Player No. 5 and Ice-Skating Sisters
3 Ethnicity and Socialist Fraternity: the National Minority Film
â1âReconfiguring the Ethnic Landscape: From Ethnicity to Nationality
â2âThe National Minority Film
â3âFlames of War in a Border Village: Cross-Ethnic Performance and the Politics of Recognition
â4âDaji and Her Fathers from Page to Screen: Typifying Ethnic Fraternity in Socialist China
4 Modeling the Model: Red Stardom
â1âProblematizing âthe Starâ
â2âStar Image
â3âThe Stanislavski System and Modeling the Red Star
5 The Cultural Politics of Affect: Villain Stardom
â1âNegative Characters, Performance Context, and Production of Affect
â2âVillain Performance as Negative Pedagogy
6 Mobile Attraction: Itinerant Film Projectionists and Rural Cinema Exhibition
â1âItinerant Film Projection: a New Attraction in Rural China
â2âRural Film Exhibition: Problems and Challenges
â3âFilm Projectionists and Their Machines
â4âFilm Projectionists and Their Exhibition Practices
Conclusion
Bibliography
Filmography
Index
Students at different levels, as well as general audiences interested in film studies, Chinese cinema, and history and culture in Maoâs China.