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.
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.
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?
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.