A Sensational Encounter with High Socialist China is a recollection of the historic visit of fourteen American students (and one Canadian) to China in 1971. The visit was one of the first approved for American scholars after the Chinese Communist Party came to power in 1949 and occurred prior to President Nixon’s famous trip (as well as that of a second group of scholars) in 1972. One of these students, Paul Pickowicz, kept a journal and photographically documented the trip. This book is a personal account of the events leading up to their visa approvals as well as those that occurred during the journey itself. The five senses are used to connect the reader to his experience and are placed in the context of a theatrical production. The images included have been selected from an archive at the University of California, San Diego, which digitized the author’s images as well as those of others in the Committee of Concerned Asian Scholars (CCAS) taken during both the 1971 and 1972 delegations.
Leading scholar Paul G. Pickowicz traces the dynamic history of Chinese filmmaking and discusses its course of development from the early days to the present. Moving decade by decade, he explores such key themes as the ever-shifting definitions of modern marriage in 1920s silent features, East-West cultural conflict in the movies of the 1930s, the strong appeal of the powerful melodramatic mode of the 1930s and 1940s, the polarizing political controversies surrounding Chinese filmmaking under the Japanese occupation of Shanghai in the 1940s, and the critical role of cinema during the bloody civil war of the late 1940s. Pickowicz then considers the challenging Mao years, including chapters on legendary screen personalities who tried but failed to adjust to the new socialist order in the 1950s, celebrities who made the sort of artistic and political accommodations that would keep them in the spotlight in the post-revolutionary era, and insider film professionals of the early 1960s who actively resisted the most extreme forms of Maoist cultural production. The book concludes with explorations of the highly cathartic films of the early post-Mao era, edgy postsocialist movies that appeared on the eve of the Tiananmen demonstrations of 1989, the relevance of the Eastern European "velvet prison" cultural production model, and the rise of underground and independent filmmaking beginning in the 1990s. Throughout its long history of film production, China has been embroiled in a seemingly unending series of wars, revolutions, and jarring social transformations. Despite daunting censorship obstacles, Chinese filmmakers have found ingenious ways of taking political stands and weighing in--for better or worse--on the most explosive social, cultural, and economic issues of the day. Exploring the often gut-wrenching controversies generated by their work, Pickowicz offers a unique and perceptive window on Chinese culture and society.
This volume illuminates the relationship of China's radical past to its reformist present as China makes a way forward through very differently conceived and contested visions of the future. In the context of early twenty-first century problems and the failures of global capitalism, is China's history of revolutionary socialism an aberration that is soon to be forgotten, or can it serve as a resource for creating a more fully human and radically democratic China with implications for all of us? Ranging from the early years of China's revolutionary twentieth-century to the present, the essays collected here look at the past and present of China with a view toward better understanding the ideas, ideals, and people who have dared to imagine radical transformation of their worlds and to assess the conceptual, political, and social limitations of these visions and their implementations. The volume's chapters focus on these issues from a range of vantage points, representing a spectrum of current scholarship. The first half of the book brings new insights to understanding how early-twentieth century intellectuals interpreted ideas that allowed them to break with China's past and to envision new paths to a modern future. It treats of Chen Duxiu, a founder of the Communist party, Mao Zedong, and Mao in relation to the non-Communist Liang Shuming and with the Dalai Lama. With continuing threads of nation and nationalities, of peasants, utopias and dystopias linking the chapters, the book's second half looks broadly at the consequences of the implementations of radical ideas, at the same time critiquing our accepted frameworks of analysis. Moving up to the present, the book investigates the effects of the reforms since the 1980s on long-term environmental degradation and on the emergence of a capitalist rural economy. It gives an unsparing view into contemporary rural China through independent films. The book concludes with an analysis of the unshakable persistence of the shibboleth, 'the rise of China,' in popular and academic imagination and argues for the importance instead of taking seriously the twentieth-century history of radicalism in China and its significance for understanding China's present and its future potentials.
Leading scholar Paul G. Pickowicz traces the dynamic history of Chinese filmmaking and discusses its course of development from the early days to the present. Moving decade by decade, he explores such key themes as the ever-shifting definitions of modern marriage in 1920s silent features, East-West cultural conflict in the movies of the 1930s, the strong appeal of the powerful melodramatic mode of the 1930s and 1940s, the polarizing political controversies surrounding Chinese filmmaking under the Japanese occupation of Shanghai in the 1940s, and the critical role of cinema during the bloody civil war of the late 1940s. Pickowicz then considers the challenging Mao years, including chapters on legendary screen personalities who tried but failed to adjust to the new socialist order in the 1950s, celebrities who made the sort of artistic and political accommodations that would keep them in the spotlight in the post-revolutionary era, and insider film professionals of the early 1960s who actively resisted the most extreme forms of Maoist cultural production. The book concludes with explorations of the highly cathartic films of the early post-Mao era, edgy postsocialist movies that appeared on the eve of the Tiananmen demonstrations of 1989, the relevance of the Eastern European "velvet prison" cultural production model, and the rise of underground and independent filmmaking beginning in the 1990s. Throughout its long history of film production, China has been embroiled in a seemingly unending series of wars, revolutions, and jarring social transformations. Despite daunting censorship obstacles, Chinese filmmakers have found ingenious ways of taking political stands and weighing in--for better or worse--on the most explosive social, cultural, and economic issues of the day. Exploring the often gut-wrenching controversies generated by their work, Pickowicz offers a unique and perceptive window on Chinese culture and society.
Drawing on more than a quarter century of field and documentary research in rural North China, this book explores the contested relationship between village and state from the 1960s to the start of the twenty-first century. The authors provide a vivid portrait of how resilient villagers struggle to survive and prosper in the face of state power in two epochs of revolution and reform. Highlighting the importance of intra-rural resistance and rural-urban conflicts to Chinese politics and society in the Great Leap and Cultural Revolution, the authors go on to depict the dynamic changes that have transformed village China in the post-Mao era. This book continues the dramatic story in the authors’ prizewinning Chinese Village, Socialist State. Plumbing previously untapped sources, including interviews, archival materials, village records and unpublished memoirs, diaries and letters, the authors capture the struggles, pains and achievements of villagers across three generations of social upheaval.
By 1952 the Chinese Communist Party had suppressed all organized resistance to its regime and stood unopposed, or so it has been believed. Internal party documents—declassified just long enough for historian Paul Mariani to send copies out of China—disclose that one group deemed an enemy of the state held out after the others had fallen. A party report from Shanghai marked “top-secret” reveals a determined, often courageous resistance by the local Catholic Church. Drawing on centuries of experience in struggling with the Chinese authorities, the Church was proving a stubborn match for the party. Mariani tells the story of how Bishop (later Cardinal) Ignatius Kung Pinmei, the Jesuits, and the Catholic Youth resisted the regime’s punishing assault on the Shanghai Catholic community and refused to renounce the pope and the Church in Rome. Acting clandestinely, mirroring tactics used by the previously underground CCP, Shanghai’s Catholics persevered until 1955, when the party arrested Kung and 1,200 other leading Catholics. The imprisoned believers were later shocked to learn that the betrayal had come from within their own ranks. Though the CCP could not eradicate the Catholic Church in China, it succeeded in dividing it. Mariani’s secret history traces the origins of a deep split in the Chinese Catholic community, where relations between the “Patriotic” and underground churches remain strained even today.
Examines youth cultures at three historical points - 1968, 1988 and 2008 - and argues that present-day youth culture in China has international and local roots.
A Sensational Encounter with High Socialist China is a recollection of the historic visit of fourteen American students (and one Canadian) to China in 1971. The visit was one of the first approved for American scholars after the Chinese Communist Party came to power in 1949 and occurred prior to President Nixon’s famous trip (as well as that of a second group of scholars) in 1972. One of these students, Paul Pickowicz, kept a journal and photographically documented the trip. This book is a personal account of the events leading up to their visa approvals as well as those that occurred during the journey itself. The five senses are used to connect the reader to his experience and are placed in the context of a theatrical production. The images included have been selected from an archive at the University of California, San Diego, which digitized the author’s images as well as those of others in the Committee of Concerned Asian Scholars (CCAS) taken during both the 1971 and 1972 delegations.
This portrait of social change in the North China plain depicts how the world of the Chinese peasant evolved during an era of war and how it in turn shaped the revolutionary process. The book is based on evidence gathered from archives and interviews with villagers and rural officials.
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