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Mainstream Culture RefocusedTelevision Drama, Society, and the Production of Meaning in Reform-Era China$

Xueping Zhong

Print publication date: 2010

Print ISBN-13: 9780824834173

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824834173.001.0001

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PRINTED FROM HAWAII SCHOLARSHIP ONLINE (www.hawaii.universitypressscholarship.com). (c) Copyright Hawaii University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in HSO for personal use.date: 01 August 2021

(p.215) Index

(p.215) Index

Source:
Mainstream Culture Refocused
Publisher:
University of Hawai'i Press
Adorno, 10
Ai, shi buneng wangji de (Love must not be forgotten), 141
anticorruption dramas, 25, 74–76;
ambivalence and, 89–91;
ideological implications in, 80–85, 95–96;
songs in, 156, 161;
types of, 78
avant-garde, 5–6, 24, 49
Bai, Ruoyun, 16
Bakhtin, Mikhail, 18
Barthes, Roland, 23
Batman, 53, 56
Bauman, Zygmunt, 5
Benjamin, Walter, 69, 157
Bond, James (007), 52–53, 56
Book of Han (Han shu), 61, 64
Britain, 6–7, 10
Brooks, Peter, 21, 78
bu paoqi, bu fangqi, 119, 122
Chen Daoming, 90
Chen Rong (Shen Rong), 141
Chen Zhen, 48, 50–51, 147
Chi Li, 25, 127, 129, 131
Chinese Central Television (CCTV), 16
Chinese Communist Party, 71, 80, 99, 111, 163;
debates in, 13;
and market reform, 89;
propaganda, 8;
revolutionary discourse, 82–83;
and women’s liberation, 125
Chinese intellectuals, 12, 65, 69, 71, 148, 162, 164
Chinese mainstream culture. See mainstream (popular) culture
Chinese modernity, 3, 47, 69
Chow, Rey, 109
Chow Yun-fat, 42–45
Ciecko, Anne T., 29, 31
commercial interests, 10–11, 16, 19
conscience (liangxin), 53, 77, 80–81, 115
“cool,” 50, 56–57, 75
counteridol youth drama, 102, 116
Culler, Jonathan, 144–146
Cultural Revolution, 48, 51;
bourgeois, 4–5, 7;
post-, 120, 141–142, 148, 160;
revolutionary heroes, 99;
youth and, 110–114
daguo yishi, 69
daxing shinei ju, 148
Daxue wuheng (Snow-covered traces), 89, 94
Deng Lijun, 51, 158
depoliticization, 2, 10, 17–18, 51–52, 116
dianshi chanye (television industry), 14–17, 19
dianshi ji (television set), 14–16, 29–30, 32, 34, 36–39, 48
dianshi lianxuju (television serial), 1, 48, 131
dianshi wenhua, 14–17. See also television culture
Ding Ling, 98
diwang ju. See emperor drama
double figure of speech, 151–152, 154–155
Dream of the Red Chamber, 48
duoyang hua (multiplicity), 17–18
educated youth, 99, 112, 114, 128
elite-popular divide, 4
(p.216) emperor drama, 26;
historical consciousness and, 69–72;
history and, 65–67, 150, 154–155;
playfully told, 52–56;
seriously told, 57–58, 60–65, 150–152
Ermo, 29–36, 39
Eryuehe, 176n11
exposé literature, 75
fa (law), 74, 76, 85, 89
fanfu ju. See anticorruption dramas
Fang zhou (The ark), 142
fazhan (developmentalist), 12, 163–164
fazhan shi ying daoli (development is a nonnegotiable principle), 12
fazhi (rule of/by law), 74–75, 76, 79, 85, 95
femininity, 97, 129–131, 142
fenghua xueyue ju (Republic era petty-bourgeois love drama), 26–27
Foucauldian, 66
Frankfurt School, 4
Freccero, Carla, 3–4
Fu, Ping, 29
gaobie geming, 18, 163
Gao Xixi, 112
geming de qingchun, 120
geming lishi ju (revolutionary history drama), 26
gender politics, 50, 124–126, 131, 138, 141, 143
globalization, 36
globalizing capitalism/globalizing consumer capitalism, 2, 25, 57, 142, 163
Gongan juzhang (The police chief), 79, 89
Gramsci, 5
Gump, Forrest, 119–120
guojia (state), 20, 74, 79, 81–84, 89, 125
Guojia gongsu (Sued by the state), 79
Guo Moruo, 98
guzhuang ju (costume drama), 26, 48
Han ju, 26
Han Sanming, 40–46
Han wu da di (Emperor Wu of the Han Dynasty), 50, 60–61, 63, 65, 67–69, 152, 154
Han Wu Di (Emperor Wu), 50, 60–65, 67–69, 152, 154
haoren (good-hearted person), 29, 40, 42, 45–46, 148
Haoren yisheng ping’an (bless good-hearted people), 40, 42, 148–149
Heavens Above (Cangtian zaishang), 73, 76–77
hegemony, 3, 5–6
Hei dong (Black hole), 79
Herzfeld, Michael, 70, 145–146
high culture, 9, 49
historical consciousness, 26, 47, 48, 50, 56, 65–71, 154–155
Historical Records (Shi ji), 61–62, 64
historical sense, 66
Hollywood cinema, 21
Honglou meng. See Dream of the Red Chamber
Hongse kangnaixin (Red carnations), 79, 85–86, 88–89, 94, 161
“How Did I Miss You?” (Wo zai na’r cuoguo le ni?), 141
Huanzhu gege (Princess Huanzhu), 50, 53–54
Hu Mei, 50, 58, 60–61, 67
Huo Yuanjia, 48, 50–51, 147
idealism, 80, 83, 99, 112, 120–122;
postrevolutionary, 122;
search for new, 97, 116, 119;
specter of, 89, 94, 99
ideology:
critique of, 39–40;
dominant/official, 2–4, 7, 12, 18, 40, 61, 65, 147;
globalizing capitalist, 40;
of happiness, 125–128, 138, 140, 143;
mainstream, 74;
marketist, 77, 81–82, 85, 88–89;
revolutionary, 99–120
Internet, 1–2, 7, 20, 116, 119
Jade Goddess of Mercy (Yu Guanyin), 103–104, 158
jiating hunyin ju (family–marriage drama), 25–26, 123–124, 126, 156
Jia Zhangke, 29, 35, 41, 107
jingfei ju/pian (police–crime drama), 27, 78
jingying wenhua (elite culture), 6, 21, 49–51
Jin Yong, 51
(p.217) joining the international tracks, 18
Journey to the West, 38, 48, 52, 147
Juedui quanli (Absolute power), 80
Kang Honglei, 116
Kangxi wangchao (The Kangxi Court), 58–60
Kangxi weifu sifang (Emperor Kangxi traveling undercover), 50, 52, 55
Kewang. See Yearnings
Kinkley, Jeffrey, 25, 73–75
kong, 134–136
Kong fangzi (Empty house), 127, 134, 136, 137–138
Kong jingzi (Nothing in the mirror), 127, 134–137
Kong xiangzi (Empty alleyway), 134
Lailai wangwang (Comings and goings), 94, 127, 131, 133, 139
Lan Xiaolong, 116
laobaixing, 79, 83–84, 89
Larson, Wendy, 115
Le Comte de Monte-Cristo, 92
Lei Feng/Lei Feng spirit, 115, 120
Lin Chun, 13
lishi ju (history drama), 26, 47–49, 57, 150
low culture, 3, 9, 49
Lu, Sheldon H., 29
Lukacs, History and Class Consciousness, 4
Lu Tianming, 74, 78
Lu Xun, 67–71, 75, 95, 98
mainstream (popular) culture, 1–7;
contemporary Chinese, 10, 13–15, 21, 26, 46–47, 50–51, 56–57, 65–67, 70–71, 82, 122;
and discursive struggle, 162–164;
limitations of, 96, 115, 144, 161;
mainstream but contested culture site, 26;
political economy of, 7;
transformation of, 120;
Western, 7, 13, 39
Mandarin Duck and Butterfly literature, 98, 101
Mao era, 38, 101, 116–117, 120–121, 147;
post-,15, 51, 99, 101, 110–111, 113, 116, 125, 158;
and women, 125, 129–131, 142;
mass media, 1, 5, 73
May Fourth, 71, 98
McGrath, Jason, 33
media restructuring, 8
melodrama, 1, 3, 11–12, 17, 19–22, 53, 58, 61, 103, 107, 109, 123, 132;
characteristics of, 3, 12, 74;
codes of, 51–52, 74;
mode of, 3, 12, 20–22, 50, 84, 107;
and modernity, 21–22;
politics of, 70, 74
middle class, 5, 101–102
modernity, 67;
Chinese quest for, 3, 47, 69–71, 76, 96, 155–156, 164;
melodrama and, 21–22
Monkey King, 38, 52
moving with the times, 18, 39
Na shenme zhengjiu ni, wo de airen (With what to save you, my loved one), 102, 103, 105, 107–108
official-unofficial divide, 8–9
Old Shanghai, 42–45, 147
“On the Same Horizon” (Zai tongyi dipingxian shang), 141
organized and planned spaces, 9–10
Ozaki Fumiaki, 68
Pan Xiao’s letter, 99
Pearce, Susan, 49
Pingdan shenghuo (Ordinary Life), 103, 106, 108–109
Plain-Clothed Cops, 103
Platform, 35, 107
playfully told (xi shuo), 49–50, 52–56
Playfully Told Tales of Qianlong, 49–51
playfulness, 52, 56, 65
poetic license, 52, 58
poetics/popular poetics/social poetics, 144–151, 155–156, 161
political novel, 25, 73, 78
popular culture, 2–8. See also mainstream (popular) culture
postmodernity, 51–52, 56–57, 63, 66, 72, 100, 156
postrevolution China, 12–17, 50, 65, 79, 94, 102, 109–112, 115, 162, 164;
depoliticization and, 17–18, 26;
economic reforms and, 2, 10, 13, 71, 90;
ennui, 35;
idealism, 122;
mainstream culture in, 46, 48, 71, 100, 110;
and women, 124, 126;
youth, 121
post–women’s liberation, 50
(p.218) postyouth youth drama, 111, 115
princelings, 90, 92
Princess Huanzhu, 50, 53, 55
Qianlong, 49, 51, 54–55, 58, 152
Qianlong wangchao (The Qianlong court), 58, 152
Qian shou (Holding hands), 131
qingchun/geming qingchun/qingchun ouxiang/qingchun fan/qingchun buzai, 99–100
qingchun ouxiang ju (youth-idol drama), 26, 100–102
qingguan (good/clean officials), 84, 95
qingnian. See youth
Qiong Yao, 51, 54–55, 101–102
quanli (power), 74, 84–85
quanli (rights), 74, 79, 85
realism, 17–19, 73, 93, 103, 107
renmin (people), 79, 81, 83–84, 89, 120
Ren xiaoyao. See Unknown Pleasures
revolutionary heroes:
Lei Feng, Huang Jiguang, Dong Cunrui, Zhang Side, 115, 120
revolutionary youth, 99–101, 120
Ri ju (Japanese drama), 26
Romance of the Three Kingdoms, 49, 57–58, 150–154
Roth, Michael, 66
rushang ju (Confucian merchants drama), 27
Sanxia haoren. See Still Life
sense of history, 56, 66–67, 70, 102, 155
Shanghai tan (Old Shanghai), 42–45, 147
Shaonian Zhongguo (Young China), 97
Shengsi jueze (A life and death choice), 77
Shibing tuji (Soldiers, be ready), 102, 116–121
Sima Qian, 62, 63–64
soap opera, 1–2, 31
social transformation, 11, 15, 25, 27, 47, 76, 97, 150
Spiderman, 53, 56
State Administration of Radio and Television (Guojia Guangbo Dianshi Ju), 20
state and market/state-market dichotomy, 2–3, 11, 14, 25
Still Life, 29, 39–41, 43–46, 147, 149
structure of feeling, 6, 122
subgenres, 3, 11–12, 17
sutures:
characters as, 85, 95, 122;
songs as, 146
Su Xiaoming, 158
technology:
economy and, 23;
mainstream popular culture aided by, 4, 6, 12, 14, 17;
modern cultural practices aided by, 12
television, serial, 19–20, 23, 48, 53, 54, 60, 80, 131, 151, 163;
dianshi lianxuju, 1
television culture, 1–2, 6–8, 10, 12, 51;
becoming polyphonic, 18, 24, 95;
in film, 28–29, 31, 46;
and the state, 19–20
Three Gorges Dam, 41
United States, 1, 7, 10, 21, 89, 139, 170–171
Unknown Pleasures, 29, 35, 39–40, 107
unseen rhythms, 2, 19, 101
Wan Fang, 127, 134–136, 138, 143
Wang Ban, 66
Wang Baoqiang, 119–120
Wang Hailing, 25, 127, 131, 133, 138–140, 143
Wang Hui, 2, 10, 14, 51
Wang, Jing, 9, 26
Wang Shuo, 19, 24, 110–112, 117, 121, 148
wenyi wei gongnongbing fuwu (art must serve the workers, peasants, and soldiers), 17–18
Williams, Raymond, 6, 20, 22
word centrism, 22
World Trade Organization (WTO), 8
wuxia ju (martial arts drama), 26, 48
Xiao Wu, 35, 107
Xiao Yanzi (Little Swallow), 54–55
xinbian lishi ju (new history drama), 57
Xingjing bense (Good cops and bad cops), 157
Xiongnu, 61
xi shuo (playfully told/playful style), 49–56, 65
Xishuo Qianlong (Playfully told tales of Emperor Qianlong), 49
Xiyou ji. See Journey to the West
(p.219) Xuese langman (Romantic life in brilliant red), 110–111
Xu Sanduo, 102, 116–122
Yan, Haiping, 2
yasu gongshang, 19
Yearnings, 19, 25, 45, 50, 136;
in film, 40–42, 44;
script writers of, 19, 24;
success of, 19;
theme song of, 40, 42, 45–46, 147–149, 156
Yingxiong wuhui (Heroes have no regrets), 156
Yin Hong, 8, 16, 163
yin sheng yang shuai, 125, 128–129
Yong bu mingmu (Eyes forever open), 102
Yongzheng huangdi (Emperor Yongzheng), 58, 64–65, 153
Yongzheng wangchao (The Yongzheng court), 47, 50, 58–59, 61, 63, 66–67, 152–153
youth, 35, 37–40, 44, 68, 97–103, 106–107, 150, 156, 160–161;
Chinese youth culture, 101, 109;
counteridol, 116, 119, 121;
idol, 26, 100–103;
Mao era, 93, 99, 101, 110–112, 115, 120, 160;
May Fourth, 97–98;
post-Mao era and postyouth, 99–101, 107, 109, 110–111, 115–116, 121;
and women, 128, 130–131, 139
Youyou suiyue (Long ago years), 148–149
Yu Dafu, 98
Yu guanyin. See Jade Goddess of Mercy
yu shi jujin, 18
Yu, Xingzhong, 85
Zhang Chenggong, 78
Zhang Jie, 141–142
Zhang Ping, 74, 78
Zhang Xinxin, 141
Zhang Yimou, 71, 124
Zhang Yiwu, 67, 71
Zhao Baogang, 102
Zhao Tao, 40
zheng shuo (seriously told), 49–50, 58, 69, 150
Zheng Wanlong, 19, 24, 148
zhengzhi ju (political drama), 25, 78
Zhenqing niandai (Age of true feelings), 110, 112–113
zhen qing/zhenqing (true feelings), 114–115, 149
zhibo fenli (separation of broadcasting and content production), 17
Zhigao liyi (In the name of the highest principle), 80
zhizheng dang (ruling party), 76–77, 81, 83, 85
Zhongcheng (Loyalty), 84
Zhongguo qingnian (Youth of China), 99
Zhongguo shi lihun (Divorce Chinese style), 127, 131, 140
Zhou Meisen, 25, 127, 131, 140
Zhou Xiaowen, 29
zhuxuan lü (main melody), 17–18
Zizek, Slavoj, 3–4
Zong Pu, 141