In order to understand why so many ordinary people supported communism in China, it is necessary to look at personal records like diaries. Increasing literacy through education greatly aided the Party’s efforts to conduct ‘thought work’, enact mass mobilisation campaigns across China, and generally bring about social change through its orthodox political ideology and practices. Although surveyed diary writing can be thought of as a form of cultural work, it was also a tool used by authors to learn about Chinese communism and their place in the new society.
Many propaganda images were produced by cultural workers to be experienced on public walls, either as murals or blackboard paintings. In villages and communes, mural and wall images were key visual forms for conveying ideology, popular knowledge, and political campaigns, but peasants also participated in making propaganda as mass art. During the Great Leap Forward, peasants were mobilized through the mass mural campaign in order to demonstrate the creative revolution in the countryside. In order to understand how these images became so pervasive in message and style, this entry describes the production, themes, and major concepts behind wall art.
A symbol of the climate of fear and militarisation of everyday life during the Cold War, the air defence shelter left a lasting imprint on Chinese urban landscapes eliciting diverse local social, political and cultural responses. As a means of urban defence, shelters illustrate changing perceptions of foreign threat and its impact on everyday life during the Mao period and the Reform Era, from the rise and fall of the Sino-Soviet alliance to the Sino-American rapprochement. This bio uses the example of a specific type of shelter --the air defence tunnel-- to illustrate how perceptions of foreign threats shaped shelter construction, design and materiality.