This is a study of Sino-American relations and the editorial policy of the China Weekly Review / China Monthly Review , published in Shanghai by John William Powell during the Chinese Civil War and the Korean War. The Review supported US attempts in early 1946 to avert civil war through the creation of a coalition government. By 1947 it reflected growing disillusionment with Guomindang policies, and increasing sympathy for the demands of impoverished students and faculty for multi-party democracy and peace. As the Civil War shifted in favour of the Communists in late 1948, Powell and the Review counseled US businessmen to remain in Shanghai and urged the US government to establish working relations with the Communists, and later to recognize the new regime. Staying in Shanghai to report changes engendered by the Communist victory, the Review 's staff accomodated themselves to the new orthodoxy and to the regime's coordination of the press. During the Korean War, the Review opposed the expanding US air war, becoming the foremost American purveyor of Chinese and North Korean allegations of American use of bacteriological weapons. The Review was also utilized for the political indoctrination of US prisoners-of-war by the Chinese and North Koreans. After closing the Review in July 1953 and returning to the United States, Powell, his wife Sylvia Campbell and assistant editor Julian Schuman were put on trial for sedition. As the government narrowed its focus to the bacteriological warfare issue, Powell and his lawyers countered by trying to prove the veracity of the charges, seeking witnesses in China and North Korea. Adverse publicity led to a mistrial in January 1959 and limitations in both the sedition and treason statutes ended plans to renew prosecution. Powell and the Review had insisted that positive diplomatic and economic relations between China and the United States were both possible and desirable. The gradual normalization of trade, investment and political relations since the 1970s seemed to validate this belief. In the post-Cold War age when Sino-American relations are often strained and tempestuous, this book serves as a reminder of the value of making the extra effort to achiece understanding.

Publisher description

Takes an in-depth look at the period between the 1950s and 1970s, focusing on the formation of a new visual culture and how it was given priority over artistic traditions such as ink painting. This was part of a broader national program to modernize China, and it had a great impact on artists and their work.

In The Chinese Revolution on the Tibetan Frontier, Benno Weiner provides the first in-depth study of an ethnic minority region during the first decade of the People's Republic of China: the Amdo region in the Sino-Tibetan borderland. Employing previously inaccessible local archives as well as other rare primary sources, he demonstrates that the Communist Party's goal in 1950s Amdo was not just state-building but also nation-building. Such an objective required the construction of narratives and policies capable of convincing Tibetans of their membership in a wider political community. As Weiner shows, however, early efforts to gradually and organically transform a vast multiethnic empire into a singular nation-state lost out to a revolutionary impatience, demanding more immediate paths to national integration and socialist transformation. This led in 1958 to communization, then to large-scale rebellion and its brutal pacification. Rather than joining voluntarily, Amdo was integrated through the widespread, often indiscriminate use of violence, a violence that lingers in the living memory of Amdo Tibetans and others.

Yang Jisheng’s The World Turned Upside Down is the definitive history of the Cultural Revolution, in withering and heartbreaking detail. As a major political event and a crucial turning point in the history of the People’s Republic of China, the Great Proletarian Cultural Revolution (1966–1976) marked the zenith as well as the nadir of Mao Zedong’s ultra-leftist politics. Reacting in part to the Soviet Union’s "revisionism" that he regarded as a threat to the future of socialism, Mao mobilized the masses in a battle against what he called "bourgeois" forces within the Chinese Communist Party (CCP). This ten-year-long class struggle on a massive scale devastated traditional Chinese culture as well as the nation’s economy. Following his groundbreaking and award-winning history of the Great Famine, Tombstone, Yang Jisheng here presents the only history of the Cultural Revolution by an independent scholar based in mainland China, and makes a crucial contribution to understanding those years' lasting influence today. The World Turned Upside Down puts every political incident, major and minor, of those ten years under extraordinary and withering scrutiny, and arrives in English at a moment when contemporary Chinese governance is leaning once more toward a highly centralized power structure and Mao-style cult of personality.

This book argues that the fundamental shift in Chinese Cinema away from Socialism and towards Post-Socialism can be located earlier than the emergence of the "Fifth Generation" in the mid-eighties when it is usually assumed to have occured. By close analysis of films from the 1949-1976 Maoist era in comparison with 1976-81 films representing the Cultural Revolution, it demonstrates that the latter already breaks away from Socialism.

This book is about the processes of globalization, demonstrated through a comparative study of three television case histories in Asia. Also illustrated are different approaches to providing television services in the world: public service (NHK in Japan), state (CCTV in China) and commercial (STAR TV, based in Hong Kong). Through its focus, Global Media addresses a considerable lacuna in the media studies literature, which tends to have a heavy Western bias. It provides an original addition to the literature on globalization, which is often abstract and anecdotal, in addition to making a major contribution to comparative research in Asia. Finally, it offers a thoughtful causal layered analysis, with a concluding argument in favor of public service television.