Podcasts about china's cultural revolution

#blacklivesmatter #blm #culturalrevolution It seems like history always finds a way to repeat itself. However, the way it is repeating itself in America could lead to uncontrollable circumstances that could easily or eventually lead to its demise. America

Professor Eric Kaufmann talks to Toby Young about his Quillette essay The Great Awakening and the Second American Revolution. He believes American may be going through something akin to China's Cultural Revolution in which many aspects of American society, from the constitution to the name of the country, could change.

The 27-year-old black man was fatally shot by police in the city. Also: a judge in Brazil has ordered President Jair Bolsonaro to wear a mask in public or face a daily fine, and Li Zhensheng - a Chinese photographer who documented the horror and violence of China's Cultural Revolution - has died in the United States

During the early years of Cultural Revolution in China, all European music was banned. Even enjoying traditional Chinese music and art was illegal. Anyone found with old instruments or recordings could be imprisoned. But that didn’t stop some musicians and enthusiasts from playing or listening to the music they loved, sometimes as an act of rebellion. A favourite during those times in China was the German composer – Ludwig Van Beethoven. Conductor, Jindong Cai tells Rebecca Kesby how he decided to become a musician after listening to an illegal recording of one of his symphonies. (Portrait of German composer Ludwig van Beethoven (1770 - 1827) by German painter Joseph Karl Stieler, 1820. (Photo by Kean Collection/Getty Images)

June 12, 2020 Carter and Keri discuss the similarities between what is happening in the United States and China's Cultural Revolution in the late 20th century. We also critique the Orwellian redefinition of words, including Merriam-Webster's decision to redefine "racism." Finally, we contemplate life in the CHAZ, ruled by a rapper with poor firearms discipline. Thanks for watching! Please don't forget to like, subscribe, and share. Follow us on the following social media channels...at least until we get banned: Twitter: @unsafespace Facebook: https://www.facebook.com/unsafepage Instagram: @_unsafespace Gab: @unsafe Minds: @unsafe Parler: @unsafespace Telegram Chat: https://t.me/joinchat/H4OUclXTz4xwF9EapZekPg Pick up some Unsafe Space merch at unsafespace.com! YouTube link to video version of this episode: https://youtu.be/d0B1tcO_pjc

A child of China's Cultural Revolution, artist Xiaoze Xie knows censorship all too well. For over twenty years, he's worked to understand thought control by making art and compiling an archive of illicit materials. Through January 2020, he brings his forbidden library to the Asia Society Museum in New York City. Included in this exhibition are photographs, an installation and a documentary from Xiaoze's Banned Books Project as well as paintings and a video from his Chinese Library Series.

Financier Weijian Shan recounts his experience as a teenager during China's Cultural Revolution and his subsequent arrival in the United States.

Denise Y. Ho is assistant professor of twentieth-century Chinese history at Yale University, and the author of "Curating Revolution: Politics on Display of Mao’s China" (2018). Using a wide variety of primary sources, including Shanghai’s municipal and district archives and oral history, "Curating Revolution" depicts displays of revolution and history, politics and class, and art and science. Analyzing China’s “socialist museums” and “new exhibitions,” Ho demonstrates how Mao-era exhibitionary culture both reflected and made revolution. Denise Y. Ho is an historian of modern China, with a particular focus on the social and cultural history of the Mao period (1949-1976). She is also interested in urban history, the study of information and propaganda, and material culture. Ho teaches undergraduate and graduate courses on modern and contemporary China, the history of Shanghai, the uses of the past in modern China, and the historiography of the Republican era and the PRC. The "Harvard on China Podcast" is hosted by James Evans at the Fairbank Center for Chinese Studies, Harvard University. Download and read the transcript for this podcast interview on our website: https://fairbank.fas.harvard.edu/events/denise-ho-modern-china-lecture-series/

Cixin Liu's novel, The Three-Body Problem, is a hallmark of modern Chinese writing. When it was first published in 2006, it took readers, critics and even scientists by storm. And when it was finally translated into English in 2014, it became the first Asian book to win the Hugo Award for science fiction. A piece of scientific imagination (folding protons, communicating with aliens, VR suits, and more), Liu's book continues to stir big questions today. Ben gets to the bottom of it with Andrew Miller. About the Book "Wildly imaginative, really interesting." — President Barack Obama on The Three-Body Problem trilogy The Three-Body Problem is the first chance for English-speaking readers to experience the Hugo Award-winning phenomenon from China's most beloved science fiction author, Liu Cixin. Set against the backdrop of China's Cultural Revolution, a secret military project sends signals into space to establish contact with aliens. An alien civilization on the brink of destruction captures the signal and plans to invade Earth. Meanwhile, on Earth, different camps start forming, planning to either welcome the superior beings and help them take over a world seen as corrupt, or to fight against the invasion. The result is a science fiction masterpiece of enormous scope and vision. The Remembrance of Earth's Past Trilogy The Three-Body Problem The Dark Forest Death's End Other Books Ball Lightning (forthcoming) Learn more about The Three-Body Problem.

This week, due to popular demand, Christopher reads another of his papers from 2017. A paper entitled: Was the Cultural Revolution Mao's personal power struggle? All about Moa's power struggle to retain his reign over the People's Republic of China. Please note that this was written as an academic exercise, and is entirely based on fact, there is no opinion included in this podcast or paper. Bibliography Baum, Richard. Burying Mao: Chinese politics in the age of Deng Xiaoping. Princeton University Press, 1996. Bridgham, Philip. "Mao's Cultural Revolution in 1967: the struggle to seize power." Intelligence Report, CIA, 24 may 1968 Chan, Anita. Children of Mao: Personality development and political activism in the Red Guard generation. Springer, 1985. Chan, Anita, Stanley Rosen, and Jonathan Unger, Students and class warfare: the social roots of the Red Guard conflict in Guangzhou (Canton), China Quarterly (1980): 397-446. Clark, Paul, Youth culture in China: From red guards to netizens, Cambridge University Press, 2012. Cohen, Paul A. "Remembering and forgetting national humiliation in twentieth-century China." Twentieth-Century China 27.2, 2002,1-39. Deng, Zhong, and Donald J. Treiman. "The impact of the cultural revolution on trends in educational attainment in the people's republic of china 1." American journal of sociology 103.2 (1997): 391-428. Domes, Jürgen, and Marie-Luise Näth. China After the Cultural Revolution: Politics Between Two Party Congresses. Univ of California Press, 1977. Gao, Mobo CF. Gao village: a portrait of rural life in modern China. University of Hawaii Press, 1999. Gao, Mobo. The battle for China's past: Mao and the Cultural Revolution. Pluto press, 2008. Jian, Guo, Yongyi Song, and Yuan Zhou. Historical Dictionary of the Chinese Cultural Revolution. Rowman & Littlefield, 2015. Jiang, Ji-li. Red scarf girl. HarperCollins World, 1999. Kleinman, Arthur, and Joan Kleinman. "How bodies remember: Social memory and bodily experience of criticism, resistance, and delegitimation following China's cultural revolution." New Literary History 25.3 (1994): 707-723. Lifton, Robert Jay. Thought Reform and the Psychology of Totalism: A Study of" brainwashing" in China. UNC Press Books, 1989. Lu, Xing. Rhetoric of the Chinese cultural revolution: The impact on Chinese thought, culture, and communication. Univ of South Carolina Press, 2004. MacFarquhar, Roderick, and Michael Schoenhals. Mao's last revolution. Harvard University Press, 2009. Mao, Tsetung, Quotations from Chairman Mao Tsetung, Foreign Languages Press, Peking, 1976 Mao, Zedong, Six Essays on Military Affairs, Foreign Languages Press, Peking, 1972 Ning, Zhang. "The political origins of death penalty exceptionalism Mao Zedong and the practice of capital punishment in contemporary China." Punishment & Society 10.2 (2008): 117-136. Schoenhals, Michael, and Roderick MacFarquhar. "Mao's Last Revolution." (2006). Schram, Stuart Reynolds, Mao Zedong, Encyclopaedia Britannica, 1998 Spence, Jonathan. The Search for Modern China. 2nd ed. New York: W.W. Norton & Co., 1999. p575 Walder, Andrew G., and Yang Su. "The cultural revolution in the countryside: Scope, timing and human impact." The China Quarterly 173 (2003): 74-99. White III, Lynn T. Policies of chaos: the organizational causes of violence in China's Cultural Revolution. Princeton University Press, 2014. Zhou, Xueguang, and Liren Hou. "Children of the Cultural Revolution: The state and the life course in the People's Republic of China." American Sociological Review (1999): 12-36.

We turn once again to curated streaming service MUBI for João Moreira Salles' essay film, In the Intense Now, which combines archival news footage with home and amateur film to explore brief but fiery sociopolitical moments with a first-person, personal tint. It looks at four events: May 68 in France, the Prague Spring in Czechoslovakia, the March of the One Hundred Thousand in Brazil, all of which took place in 1968, as well as the beginnings of China's Cultural Revolution, entirely through tourist footage shot by the director's mother of her holiday there in 1966. The film is deeply thought-provoking and complex. We discuss the feelings with which it left us, its contrast of cultures and movements across different countries and classes, how its search for understanding of its era is preferable to and more accessible than simple nostalgia, its disappointed examination of how business found ways to insert itself into the counter-culture in order to commodify and sell it, and the way that May 68 lives in cultural memory in a way the film claims is unjustified. A major theme of the film, as the title evokes, is the fleeting nature of some of these uprisings (particularly May 68, its primary focus), and there's a significant contrast between the positive way this period of revolution is remembered and the contemporaneous state of mind as the movements ended. The film is more melancholy than you might expect. We also discuss Salles' use of direct textual analysis of the images he shows, in his narration drawing specific attention to camera movement, editing and framing. He keenly provides his own interpretation of the images and in so doing not only deepens our understanding of them, but also indirectly encourages the audience to apply the same scrutiny to the images of today. It's a film that provides insight into and tools for evaluating images to viewers that may never have considered it important or even possible. We also discuss the movements of today that the film evokes for us, including Occupy Wall Street and the Parkland protests, and the similarities and differences between them and those of 1968. We don't entirely believe that it's perfect - by which Mike means he thinks it's too long and self-indulgent towards the end - but it's a fascinating and rich film, deserving of your time. Recorded on 23rd May 2018.

On Sunday, October 8th, join New America NYC for a private screening of Human Flow, a sweeping new film by world-renowned artist, activist, and icon Ai Weiwei, followed by a conversation with Richard Gere and David Miliband on the plight of refugees all over the world. More than 65 million people have been forcibly displaced due to war, persecution, climate change, and crushing poverty in the greatest human displacement since World War II. Setting out on a journey across 23 countries, Ai Weiwei, who spent his own childhood as a displaced person during China's Cultural Revolution, follows a chain of urgent human stories across the globe to bear witness to this massive human migration, elucidating both the staggering scale of the refugee crisis and its intimately personal human impact. From perilous ocean crossings to barbed-wire borders, Ai follows the desperate attempts of men, women, and children as they move from dislocation and disillusionment to endurance and adaptation. HumanFlow is a testament to the unassailable human spirit and poses a question that will define this century's greatest human rights challenge: will we emerge from fear and isolation and choose a path of freedom and respect for one another? SPEAKERS Ai Weiwei @aiwwArtist and activist Director, Human Flow Richard GereActor and humanitarian David Miliband @DMilibandPresident and CEO, International Rescue Committee Former Secretary of State for Foreign Affairs, United Kingdom

In this week's episode of Sinica, we are proud to announce that we're joining forces with SupChina. We're also delighted that our first episode with our new partner is a conversation with President Stephen Orlins and Vice President Jan Berris of the National Committee on United States–China Relations, recorded at their offices in Manhattan. Since 1966, the same year that China's Cultural Revolution began, the National Committee has been the standard bearer for a deeper understanding of the increasingly vital relationship between the United States and China. This month marks the 50th anniversary of the organization's founding. From 1976 to 1979, Orlins served in the Office of the Legal Advisor of the U.S. Department of State, first in the Office of the Assistant Legal Advisor for the Bureau of Political-Military Affairs and then for the Bureau of East Asian and Pacific Affairs. While in the latter role, Orlins worked on the legal team that helped set up diplomatic relations with China. Berris has been a major force behind the visits of hundreds of American and Chinese delegations to each other's countries, including a journey undertaken in 1972 by the Chinese table tennis team, part of an exchange that became known as Ping Pong Diplomacy. We want to say a huge thank-you to David Lancashire at Popup Chinese in Beijing for six wonderful years of partnership. Best of luck to you, Dave! Please take a listen and send us feedback at sinica@supchina.com.   Recommendations Jeremy Goldkorn: The Chinese Mayor, a film by Zhao Qi Steve Orlins: This Brave New World: India, China and the United States by Anja Manuel Jan Berris: America has Never Been so Ripe for Tyranny by Andrew Sullivan Kaiser Kuo: War and Peace by Leo Tolstoy (particularly the Second Epilogue on historiography)

When I was just a little boy, I always fancied Chinese epic war films, like "The Tunnel War", "The Mine War" and the "Three Great Campaigns" franchise. These films provided enough fanfare, action and heroism that a small boy desired. But when I was a bit older, I began to reflect on their storylines, which were based on Chinese people's struggle in the first half of the 20th century. I recognised their rich historical and ideological contexts and thought perhaps these films were uniquely made in China.As it turned out I was wrong, and it took another few years before I realised that all cultures honoured heroes in one way or another. In the USA, one of the most effective ways popular with kids was Captain America, a comic book character who protected his country and people with patriotism and super powers. Captain Steve Rogers was the 20th-century equivalent to the heroes in Chinese war films.But coming into the 21st century, the spirit of Captain America is continued in Marvel Studio's movie universe ambition and sold to overseas markets. This year Chinese audiences have paid more than 110 million US dollars to watch "Captain America: the Winter Soldier". In comparison, China has had no presentable products to speak of. The 2009 blockbuster "The Founding of A Republic" looked more like the footage of a star-lit red-carpet event than an adequate film. Most of the historical legends are being told and retold on the smaller screens of televisions, but sadly the quality of Chinese television on average is even lower than that of Chinese cinema.Tsui Hark's 2014 action film "The Taking of Tiger Mountain" is the most recent attempt to modernise the heroic narrative of contemporary China. It is also the most successful in reaching a large audience.First of all, older viewers are attracted to the film. Based on a model opera made during China's Cultural Revolution, "The Taking of Tiger Mountain" is about the story of a soldier who infiltrated and destroyed a gang of bandits in the snowy mountains of Northeast China in 1946. The model opera was immensely popular in its day, so older viewers are bound to show an interest in how the piece has been adapted. For the first time after Zhang Yimou's family drama "Coming Home", people above the age of 50 will bother to visit Chinese cinemas.However there is no guarantee that they will like it. The adaptation is mostly meant for younger viewers who are the driving force behind the recent expansion of the Chinese movie market. With cutting-edge technologies, the filmmakers have been able to scale up the spectacle. For example, the movie now includes a scene where the main character fights a tiger, and the authenticity of the computer-generated animal is comparable to its cousin in Ang Lee's adventure drama "Life of Pi".The visual gimmickry is present in every part of the 3D film, and the quick pacing helps make a very compelling story. But behind all the modernised storyline, there seems to be something that doesn't belong.At first I blamed the good-looking but unskilled young actors and actresses, then near the end of the film the final showdown reminded me of how much the movie resembled a Marvel Studios product. Tsui Hark has always been known for his skills with drawing pens and storyboards, it is how he gets the ideal shots for his movies. But this time, I think he has overplayed the visual stunt and forced a layer of comic style on the story and characters, which kind of takes the heroism out of the equation.And, by the way, when I mentioned the good-looking but unskilled young actors and actresses, I wasn't speaking about lead actor Zhang Hanyu and his antagonist Tony Leung, they are not really that young anymore and they are pretty impressive in their roles.

In 1969, the tone and direction of the Cultural Revolution shifted dramatically. For the next seven years, until Mao Zedong's death, he tried to remake the government, and the country, after his own vision. Read the show notes here. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Mao's plan to once again put China on the path to modernization was the Great Proletarian Cultural Revolution. The first phase was a very aggressive, radical series of purges and arrests that went from 1966 to 1968. Read the show notes here. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Sociologist Yu Xie learned early that society can profoundly shape a person's life. Growing up during China's Cultural Revolution, he experienced his father's political imprisonment and his family's subsequent exile to a rural village. Their struggles left him with a deep-seated skepticism that would later fuel his scientific research. After abandoning his engineering studies and finding his way to the University of Wisconsin, Xie turned his skepticism and curiosity to the study of people and the social structures that affect them. He developed new methods for analyzing social data and challenged accepted ideas about gender, race, class and innate ability. Xie is the Otis Dudley Duncan Distinguished University Professor of Sociology at the University of Michigan in Ann Arbor. He was elected to the National Academy of Sciences in 2009.