Entertainment fiction manuscripts from the Chinese Cultural Revolution are objects that were forbidden at the time as their very existence was against the prevailing ideology, yet they were extremely popular, in particular among young readers. This biography presents this type of fiction as material object by tracing how they were produced and consumed, how both the material objects and the concrete texts were transformed and how these practices anticipated developments in the literary and cultural field commonly associated with the post-Mao era.
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 Over the years, posters have been replaced by television and online propaganda.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.
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.