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 Communication and Social Change in China Name: Institution: Communication and Social Change in China The culture of China is a varied and rich combination of communist, different modern and post-modern influences, and Chinese culture. In the Cultural Revolution, a large number of cultural components of considerable worth were severely damaged or destroyed and the practice of a large number of crafts and arts were outlawed…
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Download file to see previous pages... A large number of new operas on modern and historical themes were created, and previous operas continued to be performed. As a trendy form of art, opera has often been the foremost of the arts to highlight transformations in Chinese policy. For instance, in the middle period of 1950, it was the first to gain from the Hundreds Flowers Campaign. Identically, the November 1965 criticism on Wu Han, the deputy mayor of Beijing and his historical play indicated the start of the Cultural Revolution. In the Cultural Revolution, a large number of opera soldiers were dismissed, scriptwriters and performers were singled out, and all operas apart from the eight model operas endorsed by Jiang Qing and her partners were outlawed. Also, Western-style plays were damned as poisonous weeds and dead drama and were not presented. After the demise of the Gang of four in 1976, Beijing opera was restored and continued to be an extremely admired form of entertainment both on television and in theaters (Chu, 1977). This paper will discuss the role of revolutionary model operas in the 1960s and 70s in the People’s Republic of China. ...
Therefore, if people were to comprehend the features of modernity, that is, the life situations developed by the modern societies and institutional elements of modern societies, then they should give a core responsibility to the establishment of communication media and their effect (Thompson, 1995a). In addition, there was a revival of the Western-style Theater following the Cultural Revolution. A large number of works that were created, and banned and revised from abroad and China were restored in the national collection. A large number of the new acts stressed at the perimeters of imaginative freedom and were condemned and commended, on the basis of the political situation. One of the most vocal of the novel class of playwrights was Sha Yexin. He developed a contentious play, The Imposter, in 1979, which dealt unsympathetically with the prerequisites and favoritism given to party associates. In addition, the most widespread entertainment for the Chinese citizens prior to the revolutionary model operas in the 1960s to 70s entailed public gatherings, art shows, and fireworks displays. Individuals felt tremendous happiness and derived inspiration among the cheering crowds. For instance, Yangge stilt walking and performances became admired shows. The people of People’s Republic of China enjoyed engrossing themselves in carnival groups, in which they felt a rousing spirit of unity. In addition, filmmakers erupted into new eagerness to develop novel performances. Also, this period saw Chinese filmmakers developed a sizeable amount of movies (Clark, 2008). Context in Which the Case Became Significant The people of the People’s Republic of China went through a strenuous period during the 1960s and 1970s. The natural catastrophe during the initial three years ...Download file to see next pagesRead More
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