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Biopolitics and cinema: Practices, r...

Lu, Xiaoning.

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Biopolitics and cinema: Practices, representations, and the moulding of the socialist subject in China, 1949--1966.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Biopolitics and cinema: Practices, representations, and the moulding of the socialist subject in China, 1949--1966./
作者:	Lu, Xiaoning.
面頁冊數:	195 p.
附註:	Source: Dissertation Abstracts International, Volume: 69-12, Section: A, page: 4548.
Contained By:	Dissertation Abstracts International69-12A.
標題:	Literature, Asian. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3340117
ISBN:	9780549943082

Biopolitics and cinema: Practices, representations, and the moulding of the socialist subject in China, 1949--1966.
Lu, Xiaoning.

Biopolitics and cinema: Practices, representations, and the moulding of the socialist subject in China, 1949--1966. - 195 p.

Source: Dissertation Abstracts International, Volume: 69-12, Section: A, page: 4548.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2008.

Recent studies of cinema in Soviet Russia and Nazi Germany have questioned the dichotomy of propaganda and entertainment. They reveal contradictions produced by cinema, as well as inconsistencies between the political intent and the actual effect of cultural practices. These revisionist studies not only reconstruct a complex picture of cultural industry under unusual socio-historical conditions, but also reveal the internal dynamics and the ideological fragmentation within those politically centralized states. This dissertation joins these studies by revisiting mass culture under Maoism. In particular, it examines the role that cinema played in the Chinese Communist Party's project of transforming its citizenry into socialist subjects in the years between 1949 and 1966.

ISBN: 9780549943082Subjects--Topical Terms:

1017599
Literature, Asian.

Biopolitics and cinema: Practices, representations, and the moulding of the socialist subject in China, 1949--1966.
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500 $a Source: Dissertation Abstracts International, Volume: 69-12, Section: A, page: 4548.
502 $a Thesis (Ph.D.)--State University of New York at Stony Brook, 2008.
520 $a Recent studies of cinema in Soviet Russia and Nazi Germany have questioned the dichotomy of propaganda and entertainment. They reveal contradictions produced by cinema, as well as inconsistencies between the political intent and the actual effect of cultural practices. These revisionist studies not only reconstruct a complex picture of cultural industry under unusual socio-historical conditions, but also reveal the internal dynamics and the ideological fragmentation within those politically centralized states. This dissertation joins these studies by revisiting mass culture under Maoism. In particular, it examines the role that cinema played in the Chinese Communist Party's project of transforming its citizenry into socialist subjects in the years between 1949 and 1966.
520 $a During these formative years of the People's Republic of China, the CCP was mainly concerned with the questions of how to build a new body politic and how to govern the Chinese populace effectively. The Party called for the remoulding of Chinese citizens into socialist subjects -- productive builders of socialism who were sound in body and mind.
520 $a This dissertation focuses on three areas where the Party's biopolitics intersected with its cinematic programs. First, it investigates the transformative power of sports and physical culture in remoulding individuals into competitive and collaborative socialist laborers. It contemplates how the sports film created cinematic attractions that provoked Chinese audiences into engaging in sports and exercise. Second, it juxtaposes the ethnological project of Ethnic Classification and the ethnic minority film in order to explore the use of diversified ethnicities in the CCP's remoulding project. Third, it analyzes the construction of the most effective "model people" (mofan), the socialist Red Star in Chinese cinema.
520 $a These cases illuminate respectively, the physical, the emotional, and the symbolic dimension of the socialist subject. Taken together, they reveal that Chinese socialist cinema was instrumental in creating knowledge that was constitutive of self-reflective socialist conduct and ethics. This study suggests that a top-down approach to the study of Mao's China is insufficient. Through a careful investigation of film and spectatorship, this dissertation reveals that Chinese nation building in the Mao era relied heavily on the reciprocal relationship between the state's social engineering and the individual's self-transformation.
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