Shanghai hong xiao bing (Shanghai little red guard).
Author : comp "Shanghai hong xiao bing" bian ji bu
Publisher :
Page : pages
File Size : 46,98 MB
Release : 1968
Category :
ISBN :
Author : comp "Shanghai hong xiao bing" bian ji bu
Publisher :
Page : pages
File Size : 46,98 MB
Release : 1968
Category :
ISBN :
Author :
Publisher :
Page : pages
File Size : 20,34 MB
Release : 1967
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Author : comp. (Shanghai City Zhabei District Little Red Guards Literary Reading Material Compilation Group Shanghai Shi Zhabei qu hong xiao bing wen yi du wu bian xie zu (comp.).)
Publisher :
Page : 20 pages
File Size : 19,19 MB
Release : 1970
Category :
ISBN :
Author : comp. (Shanghai People's Publishing Company Shanghai ren min chu ban she (comp.).)
Publisher :
Page : 196 pages
File Size : 29,11 MB
Release : 1973
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Author : Hong xiao bing zu hua xuan comp
Publisher :
Page : pages
File Size : 37,63 MB
Release : 1971
Category :
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Author : comp. (Little Red Guards Newspaper Hong xiao bing bao she (comp)
Publisher :
Page : 56 pages
File Size : 10,20 MB
Release : 1971
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Author : comp. (Shanghai Children's Palace Shanghai Shi shao nian gong (comp.).)
Publisher :
Page : 27 pages
File Size : 22,50 MB
Release : 1976
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ISBN :
Author : comp. (Pin County Culture Office Pin hsien wen hua kuan (comp.).)
Publisher :
Page : 21 pages
File Size : 44,34 MB
Release : 1975
Category :
ISBN :
Author : Stephanie Donald
Publisher : Rowman & Littlefield
Page : 166 pages
File Size : 14,12 MB
Release : 2005
Category : Social Science
ISBN : 9780742525412
Contributing to the growing debates on children and media worldwide, Little Friends explores the pervasive presence of film culture in the lives of children in China. The book also introduces the work of the little-known Children's Film Studio and the Film Course, a reform-period attempt by Chinese filmmakers and policy leaders to control the media to which schoolchildren were exposed. Stephanie Donald uses expansive firsthand interviews, children's drawings, and film history to tell a compelling cinematic story before it is forgotten in the onrush of globalized culture. She is especially careful to bring in the interests and experiences of children themselves. The book follows the trajectory of contemporary media analysis in privileging the use as well as the content of media. The author's "turn" to the end-user enriches her discussion of media literacy, cultural competencies, and--perhaps especially in the Chinese case--consideration of the desired uses of media in relation to state priorities and social expectations. This is a trend that belongs to an era of digital experimentation and commercial development; in interactive television, streamed news and entertainment, and the multiple, unintended uses of Internet and mobile technologies. Notwithstanding the contemporary context, Donald's arguments consider a range of media deployment that, although not especially new in technological terms, offer new insights into a formalized Chinese media system for children. Scholars and students of Asian and children's film and education will find this unique work a fascinating window into Chinese culture and society and a provocative exploration of media culture.
Author : Guobin Yang
Publisher : Columbia University Press
Page : 283 pages
File Size : 25,94 MB
Release : 2016-05-17
Category : History
ISBN : 0231520484
Raised to be "flowers of the nation," the first generation born after the founding of the People's Republic of China was united in its political outlook and at first embraced the Cultural Revolution of 1966, but then split into warring factions. Investigating the causes of this fracture, Guobin Yang argues that Chinese youth engaged in an imaginary revolution from 1966 to 1968, enacting a political mythology that encouraged violence as a way to prove one's revolutionary credentials. This same competitive dynamic would later turn the Red Guard against the communist government. Throughout the 1970s, the majority of Red Guard youth were sent to work in rural villages, where they developed an appreciation for the values of ordinary life. From this experience, an underground cultural movement was born. Rejecting idolatry, these relocated revolutionaries developed a new form of resistance that signaled a new era of enlightenment, culminating in the Democracy Wall movement of the late 1970s and the Tiananmen protest of 1989. Yang's final chapter on the politics of history and memory argues that contemporary memories of the Cultural Revolution are factionalized along these lines of political division, formed fifty years before.