China's iGeneration

Collection of essays on twenty-first century Chinese cinema and moving image culture. This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche

China's iGeneration

Collection of essays on twenty-first century Chinese cinema and moving image culture. This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche

Exploring the intersection of translation and music: an analysis of how foreign songs reach Chinese audiences

The thesis looks into the practice of song translation, which occupies a peripheral position in translation studies (TS) despite its commonplace occurrence and significant impact on the global spread of songs. Foreign songs enjoy enormous appeal in China, where different methods have been adopted to translate them with the aim of enhancing listeners’ full reception. In particular, the practice of writing Chinese lyrics anew and setting them to the foreign tunes regardless of the semantic relationship between the source text (ST) and the target text (TT) has proliferated over the past decades. Some translated songs capture the gist of the original lyrics omitting minor details whereas some sever their relations with the original. This blurs the boundaries between translation, adaptation and rewriting lyrics. Another noticeable phenomenon is the emergence of self-organising communities, whose involvement in translating song lyrics and circulating subtitled music videos (MVs) cannot be overlooked in today’s digital landscape. Song translation can be understood as a field with its own “rules of the game” and exchange of different forms of capital following a Bourdieusian perspective. Adopting a case study methodology, the thesis investigates the particular field of song translation with special reference to the translation practices of a veteran song translator named Xue Fan 薛范, online amateur translators, and a professional lyricist from Hong Kong called Albert Leung 林夕. These case studies have been conducted for providing an in-depth analysis of China’s song translation activities through time and the dynamics of the power relations in the field. To translate a song from one language and culture into another invariably involves the losses and gains of certain elements, given the song’s semiotic richness. Against this backdrop, the thesis attempts to examine how the interplay of different meaning-making modes in a song has been dealt with by different agents under various circumstances through close examination of the relationship between STs and TTs. This will allow a better understanding of the production, circulation and reception of song translations in respective historical, ideological and social contexts. It is hoped that the thesis can provide new insights into our understanding of ‘translation’ in relation to music, and further shed light on how translation evolves at the convergence of music and technology in the globalisation era

(Un)filial daughters and digital feminisms in China: The stories of awakening, resisting, and finding comrades

This thesis sets out to understand Chinese feminist struggles in a so-called digital era by looking at the experiences and practices of an emerging generation of digital feminists that came into light in Chinese feminist movements. Conceptually and methodologically, this research took inspirations from an interdisciplinary body of literature including feminist theory, sociology, media and cultural studies, girlhood studies and gender studies. Inspired by online ethnography and feminist participatory methodologies, it combined an online tracking of feminist events on Weibo with semi-structured interviews and social media diary study with 21 Chinese girls and young women. This thesis explores the embedded and embodied experiences of these participants as they discover and learn about feminism, resist and challenge gender and sexual inequalities, and try to build connections with like-minded people within and beyond the digital sphere. By charting feminist responses and resistance to familial discourses and norms around girlhood and young femininity, I show the emergence of feminist subjectivities of (un)filial daughters that arises from but also comes to reconfigure gender and sexuality within a neoliberal and postsocialist context of patriarchal familism in China. I build upon the concepts of networked counterpublics and networked affects to explore how these (un)filial daughters are networked to carve out spaces for feminist discussion in social media. Employing an affective-discursive analysis, I also tune into how networked feminist resistance and alliances are formed not merely on the basis of how women and feminists talk about these issues but also how they feel

Contradiction

In the second year of the COVID-19 pandemic, the many facets of crisis—the theme of last year's China Story Yearbook—fractured into pictures of contradiction throughout Chinese society and the Chinese sphere of influence. Contradiction: the ancient Chinese word for the concept holds within it the image of an unstoppable spear meeting an impenetrable shield. It describes a wide range of phenomena that English might express with words like conflict, clash, paradox, incongruity, disagreement, rebuttal, opposition, and negation. This year’s Yearbook presents stories of action and reaction, of motion and resistance. The theme of contradiction plays out in different ways across the different realms of society, culture, environment, labour, politics, and international relations. Great powers do not necessarily succeed in dominating smaller ones. The seemingly irresistible forces of authoritarianism, patriarchy, and technological control come up against energised and surprisingly resilient means of resistance or cooptation. Efforts by various authorities to establish monolithic narrative control over the past and present meet a powerful insistence on telling the story from an opposite angle. The China Story Yearbook: Contradiction offers an accessible take on this complex and contradictory moment in the history of China and of the world

Library wars: Discourse, power and Dystopian Young Adult Literature from the East and West

In the last twenty years, much of the excitement over the rapid development of technology has faded away as it has not provided all the answers to social problems. On the contrary, some problems have become more acute through the use of new technologies, such as the subjugation and monitoring of citizens, a phenomenon this thesis examines in a sample of the many dystopian works written for young adults which have emerged in both the West and the East in the last two decades. These works reveal authors’ thoughts about the power structure of human society; their concerns and ideas about the past and present and their expectations about the future of the world. This thesis is based on a comparative analysis of the contemporary Western and Eastern Dystopian Young Adult Literature (DYAL) from a sociological perspective. The focus will be on issues of information control and censorship in DYAL, because knowledge is one of the main bones of power contention in a dystopian prospect. Based on the theories of sociology of literature and Michel Foucault’s theory about discourse and power and a historical review of the development of YAL in the East and West, this research attempts to structure the spatiotemporal attributes of DYAL, and expound the circulated, exchanged and interactive relationship between (D)YAL and society. From this structure, more importantly, a discourse-power mapping framework for analysing dystopian literature has been developed. Although there have been numerous studies on the Western DYAL, comparative research on the Western and Eastern DYAL has been scarce. Hence, three representative dystopian YA works from USA (The Great Library series, Rachel Caine, 2015), Japan (Library Wars series, Hiro Arikawa, 2006) and China (Infernal Affairs, Sizhe Zangyi, 2014) were selected to be analysed with the framework in order to discuss the discourse-power relationship; the political ideas and social concerns shown in works from different cultural backgrounds. Furthermore, the results of the qualitative research on the Western and Eastern reader groups’ discussions have been included in the comparative analysis of the works. This sheds light on both authors’ and readers’ thoughts about discourse-power structure and the future prospect of human society inside and outside DYAL. This thesis aims to demonstrate the sociological issues around DYAL from a different theoretical scope. The study may provide an effective framework for the researchers in this field and could be applicable to further educational conversations. Hence, this research has realistic and practical importance not only for scholars and educators in YA literature, but also for the sociologists who are interested in youth culture in the digital era

Internet Mediated NGO Activity: How Environmental NGOs use Weibo in China

This thesis uses an interdisciplinary approach that draws on both the political science and media and communication fields to analyse how Chinese environmental NGOs use the microblogging site, Sina Weibo, in their online activism. The study of NGOs and how they use the internet in China is widespread. However, in many cases, the way that NGOs in China work, both online and offline, has been analysed through the lens of traditional civil society and internet studies literature, which has mostly focused on the ability of NGOs, and the internet, to give rise to significant political change, and even democratisation.Through a mixture of thematic, network, and organisational analysis, this thesis investigates the communicative functions, themes, and use of interactive features in posts on Weibo, including the use of hashtags, retweets and @mentions. At the organisational level, the ways that NGOs engage with different actors, both online and offline, including fellow NGOs, government departments, their followers, and potential donors are interrogated using four case studies. These analyses found that although the political space afforded to environmental NGOs in China is severely constrained, and the operations of the NGOs could not be seen as overtly activist or confrontational in the traditional sense, the NGOs do in fact retain a certain amount of autonomy and are able to carve out some political space for themselves. The findings of this thesis therefore challenge the notion that NGOs in China are co-opted organisations without autonomy from the state and suggests that there is scope for digital activism by NGOs in an authoritarian context, even though the online and offline political space they inhabit may be tightly regulated and controlled

Popular culture as a powerful destination marketing tool: an Australian study

This thesis is concerned with the marketing possibilities of popular culture tourism (PCT). There is promise in developing alternative forms of cultural communication and cultural representation in tourism. Specifically, PCT is explored as a way to enhance and reshape the current approach to destination promotion in Australia. Through the arrival of new and diversified cultural experiences, Australia can improve the existing tourism portfolio. Although there have been many studies which describe the marketing practice of using elements of popular culture in destination promotion, few, if any, effectively address the issue of usability of such methods in Australia. To understand the nature of the challenge, it is important to acknowledge the diversity inherent within popular culture, as well as the huge diversity of individual experiences and responses to such cultural practices. This work is concerned with the richness of individual experience, the multi-form qualities of interpersonal encounters with popular culture in Australia. This thesis uses pragmatism as the main interpretive framework, with its powerful ability to disambiguate and clarify the research questions. To study the phenomenon the researcher uses a combination of three research methods: survey research, descriptive study, and exploratory study. Each study contributes a unique perspective to the literature on popular culture tourism. To answer the research questions considerable data comprising 253 detailed questionnaires, 20 unstructured interviews, 648 blogs and social media posts, and marketing materials of over 50 DMOs were collected and analysed. The thesis has six chapters in total. The first chapter introduces the concept of PCT. It discusses how popular media and tourism, and thoughtful engagement of these forces, have created a phenomenon with great potential and strong commercial and popular impact. PCT is an umbrella term comprising several fields, such as film-induced, literary, and music tourism, as well as special events, and technology tourism, among others. The chapter argues that PCT can encourage youth tourism and help accommodate the needs of tourists coming from diverse households and families (multi-generational groups, singles, 'second' families). The chapter highlights the need to diversify the traditional tourism product by embracing specialty markets. The second chapter outlines the theoretical framework, rationale, and conceptual structure for the materials to follow. The third chapter introduces Study 1. The first study uses survey data to uncovers behaviour patterns and preferences of local popular culture tourists. It compares the events and locations in the context of PCT, and works with important cues (e.g., associations and preferences) and key features (e.g., consumption rates and travel intentions) by matching them with several hypotheses related to the consumption of popular culture. In Chapter 4, the scope of the investigation widens to include the international perspective. Study 2 is concerned with qualitative aspects of the cultural economy, namely the subjective experiences and expectation of past, existing and potential visitors. This study employs social listening and content analysis to observe and analyse online discussions related to popular culture events and locations in Australia. The captured experiences (impressions, feelings, thoughts, and observations) helped: (1) identify how Australia is being represented in popular culture discourse; (2) identify how the particular imagery of local popular culture commodities can influence the Australian tourism development strategy. The last study, Chapter 5, is concerned with practical applications. It offers a rigorous analysis of the marketing strategies that utilise popular culture in destination promotion. It discusses how these integrations are carried out by the DMOs in real-world practices. The chapter identifies seven advanced destination marketing tactics as efficient methods that can be used for tourism promotion in Australia. It offers recommendations and comments on the use of PCT in national tourism campaigns. Chapter 6 is devoted to the discussion of findings, implications, and limitations. The key findings contribute to the academic literature on cultural tourism. This thesis investigates the possibilities of using location-specific popular culture tools in 'narrative' marketing campaigns. The work identifies different PCT activities and their impacts on destination's image and tourists' experiences. The results and work also emerge as practical solutions for implementation of PCT tools in destination promotion for Australia