By Rosemary Roberts
ISBN-10: 9004177442
ISBN-13: 9789004177444
ISBN-10: 9047430883
ISBN-13: 9789047430889
Here's a convincing mirrored image that alterations our realizing of gender in Maoist tradition, esp. for what critics from the Nineties onwards have termed its ‘erasure’ of gender and sexuality. particularly the powerful heroines of the yangbanxi, or ‘model works’ which ruled the Cultural Revolution interval, were visible as genderless revolutionaries whose pictures have been harmful to ladies. Drawing on modern theories starting from literary and cultural reviews to sociology, this ebook demanding situations that confirmed view via designated semiotic research of theatrical structures of the yangbanxi together with gown, props, kinesics, and diverse audio and linguistic platforms. Acknowledging the complicated interaction of conventional, glossy, chinese language and international gender ideologies as happen within the 'model works', it essentially adjustments our insights into gender in Maoist tradition.
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Extra resources for Maoist Model Theatre: The Semiotics of Gender and Sexuality in the Chinese Cultural Revolution (1966-1976)
Example text
83 With this insight, this analysis will seek to make use of multiple interrelated ‘codes’ to read the gender messages of the yangbanxi as they would have impacted on Chinese audiences of the time. These include the dramatic conventions of jingju and the yangbanxi themselves and the multiple gender discourses that were in circulation at the time. These included: traditional Chinese gender discourses that defined limited subordinate roles for women within a domestic sphere, but also allowed space for temporary excursions into a loyal woman warrior role; discourses of an essentialised female nature that have historically proven stubbornly persistent; discourses of modern and revolutionary womanhood that originated in the nationalist period (such as discourses of ‘robust beauty’), and Maoist gender discourse that promoted equality and new public roles for women.
Item 96 on this list for example, the film Shuishang chunqiu (Annals of the Aquatics) is criticised for its display of beautiful women and thighs. 26 The earliest models post-1949 were women who had served courageously in the communist forces during the civil war. As the 50s progressed the military women were replaced by peasant or worker heroines, such as rural women who saved crops from floods before saving their homes and women tractor drivers or drilling teams on 22 10 chapter one famous ‘little red book’ of quotes from Mao paid tribute to this new woman who had swapped her make up and finery for metaphorical battle dress: Dawn light illuminates the parade grounds And these handsome girls with rifles five feet long, Heroic in the wind.
Pp. 158–59. 71 Honig, Personal Voices: Chinese Women in the 1980’s, p. 25. 72 Li Youliang, Gei Nanren Ming Ming: 20 Shiji Nuxing Wenxuezhong Nanquan Pipan Yishi De Liubian [to Name Men: Ideological Evolution of Criticising Men’s Rights in the 20th Century Female Literature], p. 157. , p. 162. 74 Bai Di, “A Feminist Brave New World: The Cultural Revolution Model Theatre Revisited”. 75 Chen Xiaomei, “Growing up with Posters in the Maoist Era,” in Picturing Power in the People’s Republic of China: Posters of the Cultural Revolution, ed.
Maoist Model Theatre: The Semiotics of Gender and Sexuality in the Chinese Cultural Revolution (1966-1976) by Rosemary Roberts
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