How successful is China at promoting itself abroad? How successful are foreign nations at resisting Chinese manipulation of the press? A new report claims to have the answers...
This has been going on for quite some time-"Welcome Danger" with Harold Lloyd in 1930, worse for "Shanghai Express" in 1932 with a long boycott of the studio, Paramount. And contempt and ridicule of Anna May Wong as the prostitute _and_ heroine.
Even though, as a person and public figure, denounced the Japanese invasion of Manchuria only about 2 weeks prior by writing a forceful editorial in an LA magazine.
The contempt for her was based on something like a belief that China had some possessory interest over a 2nd or 3rd generation American citizen. So it seems to me.
Of course, actresses are presumptively prostitutes, and if they play prostitutes, they must be. Maybe that explains things like the suicide of Ruan Lingyu ["China's Garbo"] on International Womens' Day in 1935 leaving a note saying "Gossip is a terrifying thing.". Quite simply, but using a modern term, she was DOXed to death. In her last two movies she played a virtuous prostitute ["The Goddess"] and a woman who agrees to prostitution, but does not actually do so ["New Women"].
The thread is the kind of pressure that the Chinese government was willing to use then, when it was weakened as it was.
Many of the American movies in the 1930s were deplorable for their depiction of China and the Chinese.
The madness was often in conflating the artist and the role.
But what was most despicable was the disingenuous, depraved and cowardly resort to using the actresses as punching bags to deflect from the Kuomintang's fundamental failures.
In 1932, as the Japanese were bombarding the Chinese portions of Shanghai and bringing in large contingents of troops [the 1/28 Incident or 1st Battle of Shanghai] the express policy and order of the Generalissimo was that old "Confucian" concept of just accepting the blow and absorbing the barbarians. So, the 19th Route Army "mutinied", rushing to Shanghai and defending the city against a brutal attack by the Japanese that they could then see happening in front of them.
In the French Concession "Shanghai Express" was never seen. A "spontaneous" riot broke out in the theater. The government used that incident to deflect attention from the enemy in their face to a far enemy-Hollywood, that could be attacked with mere words. Which was a good thing, since Nanking floundered in attacking the fundamental crisis it faced.
Now the Chinese government has the tools to enforce its policies more effectively. How much more wisdom remains to be seen.
Thank you for your thoughtful comment. I did a podcast a while ago on the 'new woman' and new media in early 20th century China, and I also find that period quite fascinating. I think I also talked about the suicide of the actress, and how the conflicting social norms of the time left modern women in a catch 22 position.
The century of humiliation argument is still being used by China till this day to deflect from its own flaws and practice whataboutism when it comes to their social policies. As you say, now they have more tools at their disposal to enact effective policies to project the messages they want, and block the ones they don't!
Sep 18, 2022·edited Sep 18, 2022Liked by Edi Obiakpani-Reid
Thank you. It's an amazing subject. I've listened to Lazlo Montgomery, without which I would have had no clue about the Northern Expedition. Ai Xia committed suicide at 21.
Ruan Lingyu at 24 in 1935, "The Year of Nora." But I'll we at it all day.
Anna May Wong was humiliated in Nanking and Hong Kong in 1936.
Butterfly Wu became the mistress of "China's Himmler", Dai Li.
In Chinese history's long view, which were virtuous, and which not?
This has been going on for quite some time-"Welcome Danger" with Harold Lloyd in 1930, worse for "Shanghai Express" in 1932 with a long boycott of the studio, Paramount. And contempt and ridicule of Anna May Wong as the prostitute _and_ heroine.
Even though, as a person and public figure, denounced the Japanese invasion of Manchuria only about 2 weeks prior by writing a forceful editorial in an LA magazine.
The contempt for her was based on something like a belief that China had some possessory interest over a 2nd or 3rd generation American citizen. So it seems to me.
Of course, actresses are presumptively prostitutes, and if they play prostitutes, they must be. Maybe that explains things like the suicide of Ruan Lingyu ["China's Garbo"] on International Womens' Day in 1935 leaving a note saying "Gossip is a terrifying thing.". Quite simply, but using a modern term, she was DOXed to death. In her last two movies she played a virtuous prostitute ["The Goddess"] and a woman who agrees to prostitution, but does not actually do so ["New Women"].
The thread is the kind of pressure that the Chinese government was willing to use then, when it was weakened as it was.
Many of the American movies in the 1930s were deplorable for their depiction of China and the Chinese.
The madness was often in conflating the artist and the role.
But what was most despicable was the disingenuous, depraved and cowardly resort to using the actresses as punching bags to deflect from the Kuomintang's fundamental failures.
In 1932, as the Japanese were bombarding the Chinese portions of Shanghai and bringing in large contingents of troops [the 1/28 Incident or 1st Battle of Shanghai] the express policy and order of the Generalissimo was that old "Confucian" concept of just accepting the blow and absorbing the barbarians. So, the 19th Route Army "mutinied", rushing to Shanghai and defending the city against a brutal attack by the Japanese that they could then see happening in front of them.
In the French Concession "Shanghai Express" was never seen. A "spontaneous" riot broke out in the theater. The government used that incident to deflect attention from the enemy in their face to a far enemy-Hollywood, that could be attacked with mere words. Which was a good thing, since Nanking floundered in attacking the fundamental crisis it faced.
Now the Chinese government has the tools to enforce its policies more effectively. How much more wisdom remains to be seen.
Hi Tom,
Thank you for your thoughtful comment. I did a podcast a while ago on the 'new woman' and new media in early 20th century China, and I also find that period quite fascinating. I think I also talked about the suicide of the actress, and how the conflicting social norms of the time left modern women in a catch 22 position.
The century of humiliation argument is still being used by China till this day to deflect from its own flaws and practice whataboutism when it comes to their social policies. As you say, now they have more tools at their disposal to enact effective policies to project the messages they want, and block the ones they don't!
Thank you. It's an amazing subject. I've listened to Lazlo Montgomery, without which I would have had no clue about the Northern Expedition. Ai Xia committed suicide at 21.
Ruan Lingyu at 24 in 1935, "The Year of Nora." But I'll we at it all day.
Anna May Wong was humiliated in Nanking and Hong Kong in 1936.
Butterfly Wu became the mistress of "China's Himmler", Dai Li.
In Chinese history's long view, which were virtuous, and which not?