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The lasting legacy of the Yan’an Rectification

Source: China Unofficial Archives (1/8/26)
The Lasting Legacy of Mao’s Yan’an Rectification: The Creation of a Culture of Control
By Hai Wen

[中国民间档案馆 China Unofficial Archives is a reader-supported publication. To receive new posts and support our work, please consider becoming a free or paid subscriber. .]

The covers of the English and the traditional Chinese versions of Gao Hua’s How the Red Sun Rose.

Looking back at China’s political trajectory over the past century, one fundamental fact is inescapable: a Party culture—not indigenous to China but transplanted from Soviet Russia—has profoundly shaped every facet of contemporary Chinese life.In China, Party culture is more than a technique of political control; it is a profound disciplining of the nation’s historical memory and spiritual landscape. Since 1949, this control and indoctrination have persisted for over seventy years. The decisive step in finalizing this Party culture was the Yan’an Rectification Movement of 1942. One could argue that the prototype of the party-state depicted in the famous 1948 dystopian novel 1984 was already forged in Yan’an; everything that followed has merely been an amplification of that original model.

In the world today, de-Sovietization has become a major global trend. Many former Soviet states, most notably Ukraine, have struggled to de-Sovietize. While the Chinese people may feel deep sympathy for Ukraine, to a large extent—particularly regarding political culture—China remains a Soviet-style state. The dead weight of the Soviet system, and specifically the drag of Bolshevik Party culture, remains a primary obstacle to China’s political and social transformation.

China’s Bolshevik Party culture encompasses, but is not limited to, elements such as extreme centralization, a cult of personality, intra-Party struggles, and ruthless purges. Together, these form a self-reinforcing, closed-loop system. From the Yan’an Rectification onward—whether through the total Sovietization of the early 1950s or the current era’s so-called “Sinicization of Marxism”—the essence has remained unchanged. Though ripples of liberalism or democratic socialism have occasionally emerged within the Chinese Communist Party, they have never managed to shake the Bolshevik foundations of the political culture.

Drawing primarily on two seminal works of Party history—He Fang’s Notes on the History of the Chinese Communist Party: From the Zun’yi Conference to the Yan’an Rectification Movement (hereafter Notes) and Gao Hua’s How the Red Sun Rose: The Origins and Development of the Yan’an Rectification Movement, 1930–1945,(hereafter Red Sun)—we will analyze how the Yan’an Rectification of the 1940s served as the foundry for the Bolshevik Party culture that continues to dominate China today. Continue reading The lasting legacy of the Yan’an Rectification

3D CGI Animation special issue–cfp

Call for Papers: 3D CGI Animation, Special Issue of the Journal of Chinese Cinemas
Guest Editor: Daisy Yan Du

Timeline:

May 1, 2026: Abstract (250 words) and author bio (250 words) due
December 1, 2026: Full article draft due
August 1, 2027: Article revisions due
Fall 2027/Spring 2028: Special issue published

We invite essays that examine 3D CGI animation in the Chinese context. Long regarded as a Western technology pioneered by films like Pixar’s Toy Story (1995), 3D CGI animation has a distinct and evolving history in China. While Chinese animators began experimenting with the technology decades ago, it was the global release of Nezha 2 (2025)—the highest-grossing animated feature film worldwide—that marked the spectacular debut for Chinese 3D CGI animation on the global stage. This special issue investigates Chinese 3D CGI animation as a technology, an industry, and an artform. We welcome contributions that explore, but are not limited to, the following topics:

  • 3D CGI as special effects in live-action cinema, especially in big-budget blockbuster films.
  • Aspects of 3D CGI animated feature films, such as the histories, aesthetics, formal style, themes, content, storytelling, technology, sound, dubbing, screening, audience reception, and fan culture, among others.
  • 3D CGI and video games.
  • 3D CGI and computer graphics.
  • 3D CGI and online platforms.
  • The histories and prehistories of the 3D CGI animation technology, industry, and artform in China.
  • Film and media theories pertinent to 3D CGI animation.

For inquires and submissions, please email Daisy Yan Du (daisyyandu@ust.hk)

Anime’s Knowledge Cultures review

MCLC Resource Center is pleased to announce publication of Tim Shao-Hung Teng’s review of Anime’s Knowledge Cultures: Geek, Otaku, Zhai, by Jinying Li. The review appears below and at its online home: https://u.osu.edu/mclc/book-reviews/tim-teng/. My thanks to Shaoling Ma, our media studies book review editor, for ushering the review to publication.

Kirk Denton, MCLC

Anime’s Knowledge Cultures:
Geek, Otaku, Zhai

By Jinying Li


Reviewed by Tim Shao-Hung Teng

MCLC Resource Center Publication (Copyright January, 2026)


Tim Shao-Hung Teng, Anime’s Knowledge Culture: Geek, Otaku, Zhai Minneapolis: University of Minnesota Press, 2024. 344 pp. ISBN: 9781517916282 (hardcover).

Over the last two and a half decades, animation studies has grown from a niche topic into a prominent subfield in film and media scholarships. Notably, the study of anime, the Japanese genre of animation, proves especially adaptable to cinema studies’ structural shift to media studies. Building on seminal works by Ōtsuka Eiji, Saitō Tamaki, and Azuma Hiroki, among others, scholars in the English-speaking world have pushed the boundaries of media studies in exhilarating ways. They have examined anime’s crossover into toy culture as symptoms of global capitalism (Anne Allison), explored the history and theory of media mix (Marc Steinberg), the technological condition of the multiplanar image (Thomas Lamarre), anime’s entangled relations with religion (Jolyon Thomas), and the media ecology of anime’s TV distribution (Lamarre). Extending this list of inspiring works is Jinying Li’s erudite Anime’s Knowledge Cultures: Geek, Otaku, Zhai, which reorients the field through careful historical tracing and subtle theorization with timely political and aesthetic observations.

Anime’s Knowledge Cultures focuses on the reception of anime culture populated by fans, dubbed variably as geeks (mainly in the US), otaku (Japan), and zhai (China). Rather than passive reception, these fans’ prolific activities constitute a productive sector of knowledge work: some cram for tests to earn the right to send danmaku (bullet curtain) messages; others pore through online forums to find out how to navigate the multiplying storylines of an anime-turned-game; still others tirelessly translate subtitles while adding stylized in-jokes for fellow fans. Li traces this collective knowledge culture on a transnational and transmedia scale, and contextualizes it within contemporary networked societies and information capitalism. As a result, the book forges connections between techno-economic developments and sociocultural practices; infrastructural and psychosomatic complexes; and political and aesthetic articulations. Using anime as a method, Li further performs with great rigor what in gaming terminology is called a double kill: on the one hand, she deftly deterritorializes the US-centric topography of global geek culture, directing attention to East Asia as a fertile ground of cultural and economic creativity; on the other, she remaps East Asia as expansive aggregates of media imaginaries in constant motion, no longer a fixed region marked by essentialized ethno-cultures. Continue reading Anime’s Knowledge Cultures review

Realism in Chinese Literature–cfp

Dear Colleagues,

We invite submissions for a special issue of the journal Humanities that delves into the evolution of realism in Chinese literature, tracing its journey from classical foundations to contemporary manifestations. This issue seeks to explore the multifaceted nature of realism across various genres, including fiction, drama, and film, highlighting its enduring significance and adaptability in Chinese literary history.

Themes of interest include, but are not limited to, the following:

  • Classical Foundations: Investigations into early realist tendencies in classical Chinese literature, examining how historical texts and traditional narratives established the groundwork for subsequent realist expressions.
  • 20th-Century Transformations: Analyses of the early 20th-century engagement with Western literary movements, such as naturalism and socialist realism, and how Chinese writers integrated these influences amidst sociopolitical changes.
  • Post-Mao Developments: Studies on post-Mao literature, focusing on contemporary authors’ navigation of modern societal complexities, incorporating elements like magical realism and neo-realism to depict China’s rapid transformation.
  • Sinophone Perspectives: Explorations of how Chinese-language writers in the diaspora reinterpret realism within transnational contexts, contributing to a broader understanding of its global resonance.

Submission Guidelines:

  • Abstract deadline: 15 May 2026
  • Full article deadline: 15 November 2026

We welcome original research articles that offer fresh insights into the dynamic and evolving nature of realism in Chinese literature. Submissions should adhere to the journal’s formatting guidelines and be submitted through the designated portal.

Please visit https://www.mdpi.com/journal/humanities/special_issues/7MHK2Z7KJW for more information on the special issue.

For inquiries and submissions, please contact the two Guest Editors or email directly at Humanities@mdpi.com.

Dr. Xueqing Xu
Dr. Yan Lu <ylu669@uwo.ca>
Guest Editors

China debates political power

Source: NYT (1/6/26)
In China, a Debate About Political Power Ignites After Maduro’s Capture
阅读简体中文版 | 閱讀繁體中文版
The reactions online revealed a Chinese society divided: Some saw what happened in Venezuela as a playbook for seizing Taiwan, while others warned about ideological rigidity.
By 

A crowd of people, many with their hand in the air gesturing the peace sign. Venezuela’s flag is waved by someone in the crowd and a framed drawing of Nicolás Maduro is held up by another.

Supporters of Nicolás Maduro gathering near the Presidential Palace to demand his release. Credit…The New York Times

When U.S. forces captured Venezuela’s president, Nicolás Maduro, Chinese social media lit up.

People with nationalist views asked: Why can’t Beijing do the same in Taiwan and arrest its president?

On the other side of the political spectrum, people cheered the downfall of a dictator. Trying to avoid censors when criticizing China’s leader, Xi Jinping, they invoked the title of a pop song, “Too bad it’s not you.”

Within hours, the discourse online became a proxy debate over China’s power, its limits and its future. For nationalist Chinese, the U.S. military operation had exposed American lawlessness and frustrations in China at what they believe is Beijing’s restraint, particularly on Taiwan. For those venturing criticism of the government, the episode underscored the vulnerability of even entrenched authoritarian leaders.

On the social media site Weibo, the hashtag related to Mr. Maduro’s seizure rose to the No. 1 position on the platform’s hot-search list. It drew over 600 million views in the first 24 hours, according to data from the platform. Continue reading China debates political power

Bi Gan’s Resurrection

Source: The New Yorker (12/18/25)
The Delirious Cinematic Artifice of Bi Gan’s “Resurrection”
In the Chinese director’s third feature, the pop idol Jackson Yee plays a shape-shifting dreamer who gets lost in a densely allusive maze of stories and genres.
By Justin Chang

Woman in all black standing in the rain.

Shu Qi, as the Big Other. Photography courtesy Janus Films.

“Resurrection,” a magnificent intoxicant of a movie from the thirty-six-year-old Chinese director Bi Gan, is no ordinary love letter to cinema. It’s more like a love labyrinth—a multi-tiered maze, full of secret passages, shadowy rooms, and winding staircases, with a giant movie theatre, sculpted from candle wax, waiting at the incandescent finish. It’s an ecstatic, extravagant work of artifice and imagination, and, from the start, Bi and his collaborators (they include the director of photography Dong Jingsong and the production designers Liu Qiang and Tu Nan) embrace their craft with a childlike sense of wonder and play. An extended early shot, set in an opium den, practically overflows with intricate visual trickery—paper-cutout characters, an outsized hand that reaches into the frame and begins manipulating the scenery—that I could have happily watched unfold for hours. More than once in “Resurrection,” the precise mechanics of a sequence can prove confounding, but the meaning is utterly clear: cinema is both a toy to be played with and a canvas of unlimited possibilities.

And that’s just the labyrinth’s foyer. Bi will soon send us hurtling into the lower depths, as he springs one trapdoor after another. My advice is to surrender and enjoy the plunge. “Resurrection,” which Bi wrote with Zhai Xiaohui, is both an expansive work of cinematic fantasy and a condensed survey of cinema’s history; it consists of a prologue, an epilogue, and four chapters in between, each one set in a different time, place, and genre. The prologue is effectively a silent film, composed in a nearly square aspect ratio, structured with elegant intertitles, and possessed of an explicit homage to “L’Arroseur Arrosé,” Louis Lumière’s comic short from 1895. The deeper we go into the labyrinth, the more elusive—and allusive—it becomes. There is a poster of Carl Theodor Dreyer’s “Day of Wrath” (1943), a terrifying hall of mirrors straight out of Orson Welles’s “The Lady from Shanghai” (1947), and a gangster’s swimming pool that would look right at home in Brian De Palma’s “Scarface” (1983). [READ THE FULL REVIEW HERE]

Backreading HK symposium 2026–cfp

Call for Papers – Backreading Hong Kong Symposium 2026: Everyday Life Reimagined
The theme of the 2026 edition of the Backreading Hong Kong: An Annual Symposium is “Everyday Life Reimagined.”

Proposal Deadline: January 16, 2026
Symposium Date: March 10 – 12, 2026
Venue: University of British Columbia

We are calling for proposals from scholars across disciplines (literature, cinema, media, translation, history, cultural studies) that engage critically with the theme “Everyday Life Reimagined” for the 2026 symposium.

The 2026 symposium aims to explore the power of imagination and the possibility of creativity in cultural texts and practices in reflecting on paradigms, boundaries, and subject-object positionings and (re-)thinking with non-human actors, precarious subjects, and historically marginalized communities.

Topics may include, but are not limited to:

  • Human and nonhuman agency and relation
  • Dealing with precarity
  • Dis-/Re-enchantment and the practice of everyday life
  • Intersections of race, gender, class, and language
  • Adaptation across media
  • Collaborative practices and productive imagination in the arts

Continue reading Backreading HK symposium 2026–cfp

Cold Window Newsletter no. 11

Welcome back to the Cold Window Newsletter. I’ve always wished that someone would write an English guide to the best Chinese writing of the year. Now, I get to be the one to do it. Since the beginning of last year, I’ve been on a quest to read every new short fiction collection published in China in 2025.¹ I’m finished, and I’m ready to share.

I maxed out my library card for this post. Didn’t even know I could do that.

Special: The year in new Chinese fiction

I like to focus on short stories not just because they’re an easy way for a non-native reader of Chinese to experience as many voices as possible, but also because reading short fiction is, pretty definitively, the best way to get your finger on the pulse of cutting-edge writing in China. Even more than in the Anglosphere, young Chinese writers nearly always stick to publishing short stories during the first phase of their career, slowly building up enough of a reputation to produce a full-length novel later on. Older authors write short fiction too, of course. But the best stuff consistently comes from the younger generation, because they’re the ones with the drive to experiment with form, prod the boundaries of what can be written about, and secure their place in the next incarnation of Chinese literature.

If you’re a reader of Chinese, or a translator or publisher interested in getting good stories in front of more readers, I hope the value of this list is self-apparent. But let me briefly make the case for why it’s worthwhile to pay attention to Chinese fiction even if you don’t usually keep up with contemporary literature. Chinese intellectual culture is driven by a vast, cosmopolitan, mostly urban, mostly young community of readers, writers, and artists. They have strong opinions about the state of Chinese society and the world, and they’ll always express those opinions, heedless of the invariably clumsy top-down efforts to rein them in. The Douban lists I covered two weeks ago are one reflection—skewed and oblique though it may be—of how Chinese intellectuals view the world. But their worldview is expressed much more directly through stories. All that’s left is for us to listen. Continue reading Cold Window Newsletter no. 11

MLA Chinese and EA Lit panels

Dear Colleagues, please find a compilation of panels related to the study of Chinese and East Asian Literatures at the MLA (Toronto, Jan. 8-11). We hope to see you there!

Warmly,

MLA Committees on Ming and Qing China & Pre-14th Century China

Thursday, 8 January 2026

16 – Natural Time and Human Narratives: Competing Temporal Orders in the Premodern World [LLC Pre-14th-Century Chinese]
Thursday, 8 January, 12:00 PM – 1:15 PM – MTCC – 601A
Presider: Natasha Heller (U of Virginia)
Presentations:
● Blowing Charis: Prophecy and Reproduction in Aeschylus’s Agamemnon, Kate Gilhuly (Wellesley C)
● Astral Immediacy in Early Empires, Heng Du (Wellesley C)
● Arboreal Temporalities in Buddhist Monasteries, Natasha Heller (U of Virginia)
● Periodizing Premodernity: Early Modern European Scholarship on the Ancient/Medieval Divide, Frederic Clark (U of Southern California)

42 – Conflicts and Kinship in Contemporary Sinophone Films
[LLC Pre-14th-Century Chinese]
Thursday, 8 January, 1:45 PM – 3:00 PM – MTCC – 713A
Presider: Jack Hang-tat Long (York U)
Respondent: Carlos Rojas (Duke U)
Presentations:
● Negotiating Linguistic and Cultural Conflicts in The Greatest Wedding on Earth, Jessica Tsui-Yan Li (York U)
● Women in the Middle: Family Ties in Ho Chao-ti’s Sock ’n Roll, Hsiu-Chuang Deppman (Oberlin C)
● Queering Kinship and Polylocality in Sinophone Cinema, Alvin K. Wong (U of Hong Kong) Continue reading MLA Chinese and EA Lit panels

Paper Republic 2025 list of translations

Paper Republic 2025 lists of published translations

We at Paper Republic are really proud of our 2025 Roll Call of Chinese writing in translation: here’s a list of published poetry collections and fiction and non-fiction. Please spread the word. And of course let us know if any have been missed off the lists (to info [at] paper-republic.org). In the next couple of days, we’ll be publishing a considerable list of children’s and YA literature. So watch our web page.

Nicky Harman <n.harmanic@gmail.com

Three new pubs from positionspolitic

Three new items on positionspolitic.org:

  1. A study of the artist, Ha Bik Chuen:

https://positionspolitics.org/zexu-guan-and-tingting-hu-are-chinese-rural-women-empowered-as-platform-labor/

3. Intro to a text on Maoism and workers in contemporary China, with a link to the full text:

Mourning Li Wenliang on the internet

Source: Annenberg School for Communications (12/17/25)
Mourning Li Wenliang, the Whistleblower of COVID-19, on the Chinese Internet
In a new paper, Professor Guobin Yang analyzes how Chinese social media users eulogized Li Wenliang through an ancient literary form.
By Hailey Reissman

A drawing of Li Wenliang that circulated online in China after Li died from COVID-19. The caption: “An Anti-Pandemic Hero, Dr. Li Wenliang.”

After Dr. Li Wenliang, the Wuhan ophthalmologist known as the whistleblower of COVID-19, died in February 2020 from COVID-19, Chinese social media was overwhelmed with tribute posts to the late doctor. Before his death, Li had been reprimanded by Wuhan police for “making false comments” and “spreading rumors” after a message he sent about the outbreak in a WeChat group was shared publicly.

Interestingly, many Chinese social media users eulogized Li in online biographies written in the style of “arrayed biographies,” a narrative form featured in one of the most famous historical texts in China: Sima Qian’s Shiji (also known as Records of the Grand Historian). The biographies in the Shiji, written in the late second century BCE, record the life stories of important figures in Chinese history by using examples of the person’s moral character.

In a new paper published in China Information, Annenberg School for Communication Professor Guobin Yang analyzed 30 of these Shiji-style biographies of Li to explore how Chinese internet users use this narrative style to share stories online under conditions of censorship. Yang argues that the Shiji-style biographies of Li are speech acts that “gave netizens the narrative structures and affordances to express sentiments which would otherwise have been hard to convey or convey in such powerful ways.”

Borrowing the Voice of History

Like Aesop’s Fables in the West, the format of Shiji biographies is instantly recognizable to Chinese audiences, says Yang, Grace Lee Boggs Professor of Communication and Sociology.

Shiji is a foundational text in early Chinese historical writing. These biographies of famous historical figures, such as generals, ministers, and scholars, are often excerpted in school textbooks and are well known and revered by the educated public,” says Yang, who also directs the Center on Digital Culture and Society. Continue reading Mourning Li Wenliang on the internet

Official media rebukes Han-Centric historical narratives

Source: Sinical China (12/20/25)
China’s Official Media Rebukes Han-Centric Historical Narratives
A viral online discouse blaming Qing Dynasty for China’s contemporary woes prompts official excoriation
By Xu Zeyu and Tian Zijun

On December 17, an article appeared on the official WeChat account of the Zhejiang Provincial Publicity Department, bearing the cautionary title “Beware of the ‘1644 Historical View’ Disrupting Our Rhythm”—a distinctively Chinese internet slang for manipulating public opinion often in biased and misleading ways. Within hours, it was republished and heavily cited across major news outlets and official accounts, indicating a coordinated push-back against a growing viral online discourse that has captivated, and increasingly alarmed, segments of China’s digital space. Here are the opening lines:

Recently, the so-called “1644 historical view” is gaining traction online. It contends that the demise of the Ming dynasty at the hands of Manchus in 1644 and the subsequent establishment of the Qing dynasty (1644-1912) represented “a fatal rupture in Chinese civilization.” In this narrative, Qing is not regarded as a legitimate successor of Chinese dynasties but a “foreign colonial power,” and the entire Qing history is open to a complete rejection because Qing’s misrule led to China’s weakness and suffering during the century of humiliation.

近来,所谓的“1644史观”在网上持续引发热议。该论调的核心主张包括,将1644年明朝灭亡、清军入关视为“华夏文明的中断”,将清朝定位为“外来殖民政权”,并衍生出对清朝历史全盘否定的评价,将近代中国积贫积弱、遭受列强欺凌的根源归咎于清朝的统治。

Continue reading Official media rebukes Han-Centric historical narratives

Cold Window Newsletter 2025 best books

Source: Cold Window Newsletter (12/18/25)
Dissecting the Douban Best Books of 2025 lists: An impromptu bonus issue
By Andrew Rule

Welcome to an unusually haphazard issue of the Cold Window Newsletter. I’m knee-deep in preparations for other literature posts I want to get out during the year-end season, but when I scrolled through the freshly-released Douban Best Books of the Year lists last night, I knew I was going to have to put everything else on hold. I have a LOT of thoughts on this year’s featured books and what they say about reading and publishing in China right now. Let’s get into it.

Douban’s top 10.

If you’re not familiar with Douban 豆瓣, it’s the rare social media platform in China that has a lot of goodwill among young people in China, myself included. (Disclosure: I was an intern at Douban for a while, but I was not involved in any year-end Best Books lists, and I’m writing this post purely as an outside user and reader.) In my experience, Douban attracts a primarily young, urban, highly-educated userbase—very artsy, very international-minded, more than a little pretentious. Until a crackdown in 2021, Douban also had a reputation as a gathering space for feminists, and it’s still a largely female space where books by authors like Elena Ferrante, Chizuko Ueno, and Lin Yi-han 林奕含 reign.

Continue reading Cold Window Newsletter 2025 best books