Abstract
On October 3, 1967, the Prime Minister of the Republic of the Congo, Ambroise Noumazalaye, praised the on-going GPCR in a conversation with Mao. But Mao was not as enthusiastic about the campaign as Noumazalaye was:
Noumazalaye: I have seen the great victory of the Chinese GPCR. It has significantly raised Chinese people’s political awareness.
Mao: It has also significantly encouraged anarchism.
Noumazalaye: Maybe, but we have not seen that.
Mao: Having this ideological trend exposed is good for [us to correct through] education. […] After disturbance comes order. […] It is now about the time [to re-establish order]. We plan to allow the disturbance to continue for one more year.1
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Notes
Zedong Mao and Stuart R. Schram, Mao Tse-tung unrehearsed: Talks and letters, 1956–71, Pelican Books (Harmondsworth etc.: Penguin, 1974), 271.
Maurice J. Meisner, Mao’s China and after: A history of the People’s Republic, 2nd ed. (New York, NY: The Free Press, 1986), 358.
For a detailed account of this “January Storm” (Yiyue fengbao) in Shanghai, see Roderick MacFarquhar and Michael Schoenhals, Mao’s last revolution (Cambridge, Mass: Belknap Press of Harvard University Press, 2006), 155–69.
William Theodore de Bary and Richard Lufrano eds., Sources of Chinese tradition, 2nd ed., 2 vols., vol. 2 (New York: Columbia University Press, 1999), 475. In January 1967, Mao also unofficially expressed his support of the idea of “Shanghai Commune,” even remarking that he was also contemplating to establish a “Beijing Commune.” See MacFarquhar and Schoenhals, Mao’s last revolution, 168.
Karl Marx and Friedrich Engels, The civil war in France (New York: International publishers, 1940), 58, 60.
Xuan Xi and Chunming Jin, Wenhua dageming jianshi (A brief history of the cultural revolution), 3rd ed. (Beijing: Zhonggong dangshi chubanshe, 2006), 122.
Qinghuadaxue dongfanghongnanxiagemingzhandoudui, “Geming de huaiyi yiqie wansui! (Long live the revolutionary [spirit] doubt everything!),” in Wenhua geming zhong de yiduan sichao (Heterodox thoughts during the Cultural Revolution), ed. Yongyi Song and Dajin Sun (Hong Kong: Tianyuan shuwu, 1997), 228.
Karl Marx and Frederick Engels, Marx and Engels: 1864–68 (Moscow: Progress Publ. [u.a.], 1987), 568.
Bo Chen ed., Zhongguo dianying biannian jishi: zonggang juan (Annals of Chinese cinema: Records of the overall development), 2 vols., vol. 1 (Beijing: Zhongyang wenxian chubanshe, 2005), 558.
For the origin of the term “model” and an in-depth analysis of the creation, promulgation, refinement, expansion, and film adaptations of the model performances, see Paul Clark, The Chinese Cultural Revolution: A history (Cambridge; New York: Cambridge University Press, 2008), 10–108, 23–34.
For a list of the films, see Huangmei Chen and Fangyu Shi eds., Dangdai zhongguo dianying (Contemporary Chinese cinema), 2 vols., vol. 2 (Beijing: Zhongguo shehuikexue chubanshe, 1989), 438–42.
Bo Chen ed., Zhongguo dianying biannian jishi: zonggang juan (Annals of Chinese cinema: Records of the overall development) 2 vols., vol. 2 (Beijing: Zhongyang wenxian chubanshe, 2005), 638–39.
Chen, Zhongguo dianying biannian jishi: zonggang juan (Annals of Chinese cinema: Records of the overall development), vol. 2, 644–59. Di Wu, ed. Zhongguo dianying yanjiu ziliao (Research materials of Chinese cinema): 1949–1979, 3 vols., vol. 3 (Beijing: Wenhua yishu chubanshe, 2006), 542–43.
Bo Chen ed., Zhongguo dianying biannian jishi: zhipian juan (Annals of Chinese cinema: Film production) (Beijing: Zhongyang wenxian chubanshe, 2006), 126–27.
Xun Lu, Lu Xun quanji (Complete works of Lu Xun), vol. 3 (Beijing: Renmin wenxue chubanshe, 2005), 290.
A selection of the articles on Wu Xun and the film published at the time can be found in Ming Zhang, ed. Wu Xun yanjiuziliao daquan (A comprehensive collection of materials for the research of Wu Xun) (Ji’nan: Shandong daxue chubanshe, 1991), 771–809.
Han Tian, Tian Han quanji (Complete works of Tian Han), 20 vols., vol. 20 (Shijiazhuang: Huashan wenyi chubanshe, 2000), 552–53. Charges against the play and the film during the Cultural Revolution Period were an escalation of the criticism they encountered in 1958, which has been discussed in Chapter 4.
Krista Van Fleit Hang, Literature the people love: Reading Chinese texts from the early Maoist period (1949–1966) (New York: Palgrave Macmillan, 2013), 156. Hang translates the title of the film as Song for the Ming Tombs Reservoir.
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© 2014 Zhuoyi Wang
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Wang, Z. (2014). Conclusion: From the Ebb of the Revolution to the End of Revolutionary Cinema, 1967–1979. In: Revolutionary Cycles in Chinese Cinema, 1951–1979. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137378743_8
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