Abstract
As China undergoes drastic social and economic restructuring, ensuing moral catastrophes have garnered increasing attention, with the population emerging as desperate economic subjects craving financial security—a departure from the previous socialist welfare system. Ci Jiwei argues that China is confronting a “moral crisis,” that is, “a state of affairs in which large numbers of people fail to comply with more or less acceptable rules of social co-existence and cooperation,” as he sees that the violation of elementary norms has resulted in the production and widespread sale of unsafe food, medicine, and water, for example.1 These ruthless acts arguably stem from the desire for profit or advancement at the expense of others. Economic subjects at all social levels pursue wealth during socioeconomic restructuring, transgressing moral and sometimes even legal boundaries. This moral disarray resonates with the global moral crisis that sociologist Zygmunt Bauman identifies—a moral crisis in which strangers are seen as threats, attacked, and killed within a space of liquid modernity, a term he coins to describe the globalization processes in which the boundaries of society and culture become more and more permeable.2 Both the anxious Chinese government and cultural elites respond to such a moral crisis on the screen but with different representational paradigms that give rise to representational politics—the former attempts to reinvigorate moral values in order to maintain political legitimacy and the latter reflects upon social problems.
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Notes
Ci Jiwei, “The Moral Crisis in Post-Mao China: Prolegomenon to a Philosophical Analysis,” Diogenes 56, no. 1 (2009): 20.
Zygmunt Bauman, Does Ethics Have a Chance in a World of Consumers? (Cambridge, MA: Harvard University Press, 2008), 8.
See Dawn Einwatler, “Selflessness and Self-Interest: Public Morality and the Xu Honggang Campaign,” Journal of Contemporary China 7, no. 18 (1998): 257–69;
Li Li, “The Television Play, Melodramatic Imagination and Envisioning the ‘Harmonious Society’ in Post-1989 China,” Journal of Contemporary China 20, no. 69 (2011): 327–41;
Michael Keane, “Television and Moral Development in China,” Asian Studies Review 22, no. 4 (1998): 475–503.
Gong Haomin, Uneven Modernity: Literature, Film, and Intellectual Discourse in Postsocialist China (Honolulu: University of Hawai’i Press, 2012), 94–116;
Rui Zhang, The Cinema of Feng Xiaogang: Commercialization and Censorship in Chinese Cinema After 1989 (Hong Kong: Hong Kong University Press, 2008).
Wang Ban, “Documentary as Haunting of the Real: The Logic of Capital in Blind Shaft” Asian Cinema 16, no. 1 (2005): 4–15.
For socially conscious films, I refer to a more narrow sense of Ying Zhu’s loose theorization of director Li Yang’s socially conscious but nonoppositional films. See Ying Zhu, “Li Yang’s Socially Conscious Film as Marginal Cinema—China’s State-Capital Alliance and its Cultural Ramifications,” Chinese Journal of Communication 2 (2009): 212–26. To refine her loose usage, I refer to “socially conscious” films as those that address current Chinese social issues by exposing the social problems and provoking questions and reflections on reality rather than those of main melody productions that gloss over social problems by shifting the filmic attention to heroic official figures who fight social problems.
See, for example, Zhao Fuhai, Yingxiong nugongan juzhangRen Changxia chuanqi 英雄女公安局長任長霞傳奇 [The legend of Ren Changxia—the heroic female police chief] (Zhengzhou: Henan renmin chubanshe, 2005);
Rong Xin and Liu Congde, eds., Gong’an juzhang de bangyan: Ren Changxia 公安局長的榜樣: 任長霞 [Ren Changxia—the model of police chief] (Zhengzhou: Henan renmin chubanshe, 2004);
Xiang Ren Changxia tongzhi xuexie bianxie zu, Xiang Ren Changxia tongzhi xuexie 向任長霞问志學習 [To learn from comrade Ren Changxia] (Beijing: Zhonggong dangshi chubanshe, 2004);
Yu Pei and Ning Li, eds., Ren Changxia degushi 任長霞的故事 [The story of Ren Changxia] (Beijing: Renmin chubanshe, 2004);
Zhonggong Dengfeng shiwei xuanchuanbu, Xinbei: Yingxiong Ren Changxia 心碑: 英雄任長霞 [Stele in the heart—the hero Ren Changxia] (Shanghai Shi: Shanghai jiaotong daxue chubanshe, 2004).
Li Mingjie and Wang Xiaoqiu, “Liu Litao Ren Changxia shi de gong’an juzhang” 劉麗濤任長霞式的公安局長 [Liu Litao police chief of Ren Changxia mode], Zhonghua ernu [Sons and daughters in China] 3 (2008): 58–61;
Ma Fang and Tao Yongwei, “Zuo renmin zhongcheng de baohushen” 做人民忠誠的保護神 [To be a loyal guardian angel of the people], Dang de jianshe [Constructions of the Party] 5 (2008): 28–29;
Zhang Ruidong, Lu Chunlan, and Li Xuewen, “Honghe lijian puo changkong” 紅河利劍破長空 [Red river/sharp sword cut through the sky], Shidai fengcai [Graciousness of the time] 2 (2006): F36–F38.
See Renmin gongpu de bangyang Dianjizu, Renmin gongpu de bangyang: Kong Fansen [The role model of civil servants: Kong Fansen] (Beijing: Zhonggong zhoang yang dangxiao chubanshe, 1995), 2;
and Zhang Jiaxiang and Yu Peiling, eds., Renmin de gongpu Jiao Yulu 人民的公僕焦 裕祿 [Civil servant of the people: Jiao Yulu] (Nanjing: Jiangsu renmin chubanshe, 1990), 8.
A phrase coined by the political theorist C. B. Macpherson, which refers to a human who is “in his capacity as proprietor of his own person,” whose “humanity does depend on his freedom from any but self-interested contractual relations with others,” and whose “society consists of a series of market relations.” See C. B. Macpherson, The Political Theory of Possessive Individualism: Hobbes to Locke (Oxford: Clarendon Press, 1962), 271, 272.
Mary Leila Makra, trans., The Hsiao Ching [The classic of filial piety], ed. Paul K. T. Sih (New York: St. John’s University, 1961), 3.
D. C. Lau, trans., Mencius, Book 1, Part A (Hong Kong: Chinese University Press, 2003), 19.
The film script is expanded into a novel published with the same name, which also includes production features of the film and interviews with Qiao Anshan. See Wang Xingdong and Chen Baoguang, Likai Lei Feng de rizi (Beijing: Jief-angjun wenyi chubanshe, 1997).
Mao Zedong, Wei renmin fuwu; jinian Bai Qiu’en; yugong yishan [Serve the people; in memory of Norman Bethune; the foolish old man who removed the mountains] (Beijing: Shangwu yinshuguan, 1972).
Memorial publications on Kong Fansen are many; for example, Xing Zhidi and Liu Jimeng, eds., Kon Fansen jiazhiguan yanjiu [Research on Kong Fansen’s value systems] (Beijing: Zhonggong zhongyang dangxiao chubanshe, 1998); Renmin gongpu de bangyang bianjizu, Renmin gongpu de bangyang: Kong Fansen
and Ma Jun, Lingdao ganbu de kaimu Kong Fansen 領導幹部的措模孔繁森 [An exemplary model of leading cadres: Kong Fansen] (Jinan: Shandong renmin chubanshe, 2006).
Wendy Larson, From Ah Q to Lei Feng: Freud and Revolutionary Spirit in 20th Century China (Stanford, CA: Stanford University Press, 2009), 211.
Ge Fei, Niu Bocheng, et al., Ren Changxia (Beijing: Qunzhong chubanshe, 2005), 36, 50; Yu Pei and Ning Li, eds., Ren Changxia de gushi 任長霞的故事 [The story of Ren Changxia], 14.
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© 2015 Wing Shan Ho
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Ho, W.S. (2015). Selfless Party officials and the Socialist Legacy. In: Screening Post-1989 China. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137514707_2
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DOI: https://doi.org/10.1057/9781137514707_2
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