Wristwatches were one of the most desired mass-produced industrial products in the Mao era, 1949-76. They began the era as imported luxury items owned only by the wealthy. But they ended the era domestically mass-produced by the millions. On the one hand, they were a symbol of the successful efforts to build Chinese industry, science, and technology. On the other, only a small fraction of a population of some 700 million managed to obtain one. The distribution of these watches was a consequence of a specific economic policy. Sometimes, the state used propaganda to promote watch consumption, such as movies made by the state featuring watches. Other times, the state discouraged any form of consumerism, especially after the start of the Cultural Revolution in 1966. Wristwatches were an everyday symbol of the inequality that the Communist Revolution of 1949 had intended to end but that accompanied industrialization.
As objects of ideology, design, science, economic planning, consumption, and everyday use, chairs and stools can reveal much about politics, society, culture, and daily rhythms during the Mao period and later Reform Era. This biography examines the role of chairs and stools in the transition to socialism and industrial development after 1949. It illustrates how these furniture items were designed, how they became part of the CCP's planning process including the five-year plans, and how design and materiality were shaped by momentous events such as the Great Leap Forward.
Bricks were essential if obdurate components in the physical and figural construction of the People’s Republic of China (PRC)—a building material rooted in China’s civilizational origins yet new and vital to the country’s built environment under Mao. It was a familiar object for some but not all of China’s residents, and it required a certain but not necessarily highly skilled expertise to produce and assemble into architecture. In both its enduring and multivalent practicality and representational agency, the brick is a useful object through which the aspirations and challenges of realizing an everyday socialist modernity in the PRC may be better understood.
By virtue of their unique technical specifications and cultural valences, recorded audio formats bring issues of science and technology, industrial organization, artistic and cultural production, and media interplay to the fore. This biography examines the flexi-disc or flexi and its emergence in the PRC after 1968. It pays particular attention to the ways in which the Chinese flexi was deployed in a manner at odds with global trends: rather than be tied to subscription magazines, the Chinese flexi was the purview of local stations broadcasting over loudspeaker.