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.
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.
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.
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.