The Cultural Revolution (1966-1976) is inextricably bound up with images of uncountable numbers of propaganda posters, and Red Guards. Poster production reached a climax during the period, turning the event into a media spectacle. Mao Zedong’s image graced millions if not billions of these posters, dominating all aspects of life. After Mao’s death in 1976, his veneration came to a halt. However, the new leadership realized that doing away with Mao was impossible. Over the years, posters have been replaced by television and online propaganda. With Mao’s likeness gracing Chinese banknotes, 'Grandpa Mao' now has become a sought-after commodity.
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.
The history of Chinese typewriting is one of experiments, prototypes, failures, and successes in the century-long quest to solve a complex design puzzle: How to fit thousands of characters on a desktop device? The history of Chinese typewriting is also a unique lens through which to examine the broader histories of Chinese mass mobilisation, science and technology, literacy, women, industry, and cultural work.
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.