This, the first major study of Chinese women in Australia, is all about global journeys and perspectives. It is also a story of the various stories that connect Australia to the pathways of women of Chinese ancestory. Ryan interrogates issues of ethnicity, gender and identity to present the diversity of the women's lives.

An “immensely readable” journey through modern Chinese history told through the experiences of the author’s extended family (Christian Science Monitor). When journalist Scott Tong moved to Shanghai, his assignment was to start the first full-time China bureau for “Marketplace,” the daily business and economics program on public radio stations across the US. But for Tong the move became much more: an opportunity to reconnect with members of his extended family who’d remained there after his parents fled the communists six decades prior. Uncovering their stories gave him a new way to understand modern China’s defining moments and its long, interrupted quest to go global. A Village with My Name offers a unique perspective on China’s transitions through the eyes of regular people who witnessed such epochal events as the toppling of the Qing monarchy, Japan’s occupation during WWII, exile of political prisoners to forced labor camps, mass death and famine during the Great Leap Forward, market reforms under Deng Xiaoping, and the dawn of the One Child Policy. Tong focuses on five members of his family, who each offer a specific window on a changing country: a rare American-educated girl born in the closing days of the Qing Dynasty, a pioneer exchange student, a toddler abandoned in wartime who later rides the wave of China’s global export boom, a young professional climbing the ladder at a multinational company, and an orphan (the author’s daughter) adopted in the middle of a baby-selling scandal fueled by foreign money. Through their stories, Tong shows us China anew, visiting former prison labor camps on the Tibetan plateau and rural outposts along the Yangtze, exploring the Shanghai of the 1930s, and touring factories across the mainland—providing a compelling and deeply personal take on how China became what it is today. “Vivid and readable . . . The book’s focus on ordinary people makes it refreshingly accessible.” —Financial Times “Tong tells his story with humor, a little snark, [and] lots of love . . . Highly recommended, especially for those interested in Chinese history and family journeys.” —Library Journal (starred review)

This is the story of how the women's movement in China took advantage of the government's official efforts to position women in the rural economic reforms of the 1980s to achieve a significant and ever-increasing role in China's developing turn toward a market economy, which was not the state's intent.

This book discusses the role of television drama series on a global scale, analyzing these dramas across the Americas, Europe, Asia, Australia, and Africa. Contributors consider the role of television dramas as economically valuable cultural products and with their depictions of gender roles, sexualities, race, cultural values, political systems, and religious beliefs as they analyze how these programs allow us to indulge our innate desire to share human narratives in a way that binds us together and encourages audiences to persevere as a community on a global scale. Contributors also go on to explore the role of television dramas as a medium that indulges fantasies and escapism and reckons with reality as it allows audiences to experience emotions of happiness, sorrow, fear, and outrage in both realistic and fantastical scenarios.

An eye-opening and previously untold story, Factory Girls is the first look into the everyday lives of the migrant factory population in China. China has 130 million migrant workers—the largest migration in human history. In Factory Girls, Leslie T. Chang, a former correspondent for the Wall Street Journal in Beijing, tells the story of these workers primarily through the lives of two young women, whom she follows over the course of three years as they attempt to rise from the assembly lines of Dongguan, an industrial city in China’s Pearl River Delta. As she tracks their lives, Chang paints a never-before-seen picture of migrant life—a world where nearly everyone is under thirty; where you can lose your boyfriend and your friends with the loss of a mobile phone; where a few computer or English lessons can catapult you into a completely different social class. Chang takes us inside a sneaker factory so large that it has its own hospital, movie theater, and fire department; to posh karaoke bars that are fronts for prostitution; to makeshift English classes where students shave their heads in monklike devotion and sit day after day in front of machines watching English words flash by; and back to a farming village for the Chinese New Year, revealing the poverty and idleness of rural life that drive young girls to leave home in the first place. Throughout this riveting portrait, Chang also interweaves the story of her own family’s migrations, within China and to the West, providing historical and personal frames of reference for her investigation. A book of global significance that provides new insight into China, Factory Girls demonstrates how the mass movement from rural villages to cities is remaking individual lives and transforming Chinese society, much as immigration to America’s shores remade our own country a century ago.

As China has evolved into an industrial powerhouse over the past two decades, a new class of workers has developed: the dagongmei, or working girls. The dagongmei are women in their late teens and early twenties who move from rural areas to urban centers to work in factories. Because of state laws dictating that those born in the countryside cannot permanently leave their villages, and familial pressure for young women to marry by their late twenties, the dagongmei are transient labor. They undertake physically exhausting work in urban factories for an average of four or five years before returning home. The young women are not coerced to work in the factories; they know about the twelve-hour shifts and the hardships of industrial labor. Yet they are still eager to leave home. Made in China is a compelling look at the lives of these women, workers caught between the competing demands of global capitalism, the socialist state, and the patriarchal family. Pun Ngai conducted ethnographic work at an electronics factory in southern China’s Guangdong province, in the Shenzhen special economic zone where foreign-owned factories are proliferating. For eight months she slept in the employee dormitories and worked on the shop floor alongside the women whose lives she chronicles. Pun illuminates the workers’ perspectives and experiences, describing the lure of consumer desire and especially the minutiae of factory life. She looks at acts of resistance and transgression in the workplace, positing that the chronic pains—such as backaches and headaches—that many of the women experience are as indicative of resistance to oppressive working conditions as they are of defeat. Pun suggests that a silent social revolution is underway in China and that these young migrant workers are its agents.

After 1949 the Chinese Communists carried out land reform, the collectivization of agriculture, and the formation of people's communes. The new economic and political organizations that emerged have made peasant life more comfortable and secure, but many economic and status differentials and traditional customs remain resistant to change. Focusing on rural Kwangtung province, William L. Parish and Martin King Whyte examine the rural work-incentive system, village equality and inequality, rural health care and education, marriage customs, and the position of women, among other topics, to determine what and how much of the traditional Chinese ways of life is left in Communist China.