Revolutions often produce new types of art and culture, and often the most effective forms are those that can be worn, allowing supporters to literally embody the revolution. In China, Chairman Mao badges, small pins featuring Mao’s visage, were produced as early as the revolutionary period, but they became a truly nationwide phenomenon during the Cultural Revolution, when they were worn by young Red Guards as demonstrations of their devotion to Mao. They remain present in Reform Era China, where they have entered private collections, thus entering a very different world from that which they were originally designed for.
Architecture is not just an 'object', but also a 'space' inhabited by objects and people. Architecture itself as well as the related objects can reveal much about ideology, politics, knowledge, culture and people's life during the Mao period. Beijing International Club was a significant diplomatic building built in the Cultural Revolution after China improved its foreign relations with the West. This biography illustrates how the building was designed and used and how the artworks in it reflected the political struggles of the time.
Architecture often has a political meaning. Think of Buckingham Palace, the White House, the Kremlin, or the local government offices such as city hall or town councils. Public spaces in cities such as parks and squares also have political meanings. This biography examines the Great Hall of the People, one of the most important political buildings in China. It describes how the building was planned and constructed during the Great Leap Forward, discusses how the architectural style and the interior symbolized the power, ideology and policies of the Chinese Communist Party, and describes some of what goes on inside.
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.
Political socialization of children begins very young in China. In addition to school classes and textbooks, youth organizations and other group activities, children participate in patriotic learning through officially produced mass media. Children’s magazines were very important in the early years of the People’s Republic, as film, radio and television were not very accessible, especially in rural areas. Magazines promoted communist ideology, specific policies and campaigns, as well as literacy and general knowledge. Publishing in China was nationalized and centralized during the 1950s, ensuring that officially approved messages were disseminated for mass mobilization.
Big-Character-Posters served as forms of propaganda throughout the Mao era, and were especially prominent during the Cultural Revolution. This biography examines the history and legacy of the big-character-poster, especially the ways they were used by individuals to spread ideology and serve as a form of mass mobilisation. From Red Guards in the Cultural Revolution to students during the Umbrella Movement, big-character-posters are often seen as a bottom-up form of protest. However, oral histories and memoirs reveal that the process of writing them was more complicated, sometimes top-down and sometimes collectively authored.
The Little Red Book was the most prominent icon of the Cultural Revolution. It played a key role in mobilizing the populace and heavily influenced contemporary rhetoric. Despite its towering success, with over one billion copies printed, the compilation history of the Little Red Book is full of unexpected twists and turns. From revolutionary weapon to sacred icon, the volume fulfilled multiple functions and presents a fascinating example of how objects may acquire different symbolic meanings in revolutionary politics.
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.
Films are objects whose production requires resources, labor and technology, and whose distribution requires infrastructure. Films also present other objects on the screen. Documentary images, in particular, are supposed to tell truths about the physical and historical world we live in. This biography discusses the substantial resources committed to filmmaking by the young PRC: in one example, the People’s Liberation Army re-enacted four major battles in the Chinese Civil War for the camera. Why was there a perceived need for re-enactment, and what it might tell us about the society where the film was produced?