Ideology power bank

Source: China Digital Times (1/17/24)
Xi-Branded Power Bank/Speakers Provides Two Kinds of Positive Energy
Posted by 

A top Party outlet has created a Xi Jinping Thought-themed combined Bluetooth speaker and power bank for distribution to cadres across the country. The contraption, clunkily titled the “‘Xi Jinping’s “The Governance of China” Volumes 1-4’ Ideology Power Bank,” was unveiled by Guangming Online, a subsidiary of the influential Guangming Daily, in March 2023, but has gained broader attention online this month. The “ideology power bank” is designed to allow on-the-go cadres to charge their phone while listening to any of 72 essays expounding on Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era.

A photograph of the "ideology power bank" which is red and has yellow text.

The text reads: “Xi Jinping’s ‘The Governance of China’ Volumes 1-4. Ideology Power Bank: Charging Phones, Empowering Thought

The product is not available for purchase online. However, CDT Chinese editors have found that many local Party Congress representatives and government employees have received the “ideology power banks.” A press release touting their release quoted a “zoomer” member of China’s rubber stamp national consultative body, who claimed to carry it with her everywhere: “The ‘ideology power bank’ provides us youth with ever-available, ever-informative scenarios. It will be a big hit among youth.” She added that the essays provide a much-needed “north star” and “compass” for the study of ideology. Continue reading

Chinese Theater Collaborative digital resource center

LAUNCH OF CHINESE THEATER COLLABORATIVE DIGITAL RESOURCE CENTER
January 16, 2024, 8 pm EST

We invite you to the launch of the “Chinese Theater Collaborative/華語戲聚“ (CTC) digital resource center.  CTC is a companion site to two recent publications devoted to making traditional Chinese drama accessible to a broader audience, How To Read Chinese Drama: A Guided Anthology (Columbia University Press, 2022) and How To Read Chinese Drama in Chinese: A Language Companion (Columbia University Press, 2023).

The “Chinese Theater Collaborative” (https://chinesetheatercollaborative.org, going live on 01/16/24)  features over twenty original modules that examine modern renditions of iconic Chinese plays (Orphan of ZhaoStory of the Western WingMulan and Peony Pavilion and more) in multiple formats (theater, film, TV, and comics among others).

These narrated and illustrated modules showcase the vibrant and diverse afterlives of traditional Chinese plays, while facilitating the integration of drama into the literature, culture, media, and language classroom.

Join us on Tuesday, January 16, 2024, 8 pm Eastern Standard Time (EST) by registering here: https://easc.osu.edu/events/ics-event-launching-chinese-theater-collaborative/huayuxiju

For questions, please contact chinesetheatercollaborative@osu.edu.

Patricia Sieber (Professor, DEALL) and Julia Keblinska (Postdoctoral Fellow, EASC)
Editors, CTC
The Ohio State University
Launch supported by The Institute for Chinese Studies (The Ohio State University) and co-sponsored by the Advanced Institute for Global Chinese Studies (Lingnan University)

Chine: les influenceurs de la colonisation

Excellent new film on the ongoing Chinese colonization of genocided areas:

https://www.arte.tv/fr/videos/113682-006-A/sources/
Chine: les influenceurs de la colonisation [English subtitles]
Arte / Sources, France 2023.
Disponible: 15 dec. 2023 to 29 Nov. 2026

Also available on Youtube:

This new 15 minute ARTE film is about Chinese colonizer-influencers in Xinjiang, hired by the State to promote colonization of ethnic- cleansed areas under the military-industrial Bingtuan complex (XPCC), the main tool of state settler colonialism in Xinjiang kicking in higher gears during this phase of the genocide.

It’s a lot like what Nazi Europe would have been like, had the Nazis won WWII. Or indeed, Israelis in a future fully cleansed Gaza, with an ocean view,” as one extremist settler leader recently memorably promoted it.

(I was just interviewed by the RFA to comment on the ARTE film. The interview may first come out in Uyghur, but I can send the link later. The main point: this is all part of a logical sequence of genocide – camps, mass destruction of separated families, forced labor or prison for split up parents and children’s Gulag for the kids. Down to how the belongings of the evicted and detained Uyghur owners of the land, now in the camps, or dead, shows up on Chinese ebay: https://bitterwinter.org/uyghur-family-fortunes-mysteriously-reappear-for-auction/)

Sincerely,

Magnus Fiskesjö, nf42@cornell.edu

Don’t expect kindness and humanity from dictators

Source: China Digital Times (11/6/23)
Translation: “Don’t Expect Kindness and Humanity from Totalitarian Dictators”
By

A fanciful and colorful illustration of China's first emperor Qin Shi Huang, with regal robes, a jeweled headdress, and fiery purple eyes.

A fiery-eyed Qin Shi Huang, China’s first emperor (259-210 B.C.E.), who was famed for his book-burning and brutality.

A brief, fiery essay excoriating totalitarianism has been censored on WeChat, and appears to have precipitated the closure of a Jiangxi-based current- and legal-affairs blog. First posted on the public WeChat account 法制江西 (Fǎzhì Jiāngxī, “Jiangxi Legal”), the ten-paragraph essay—interspersed with photographs of contemporary strongmen and vivid illustrations of the brutal emperors of old—extolled the virtues of liberal democracy and argued for the “inevitable demise” of authoritarian systems. Some aspects of the essay echo, intentionally or not, the vision for a “Beautiful China” of rights lawyer Xu Zhiyong, who was sentenced in May to 14 years in prison for subversion. Soon after the essay disappeared from WeChat, the “Jiangxi Legal” public account announced, without any explanation, that it had been suspended and would cease posting updates. The account’s public profile described it as “a general news column, under the auspices of a legal-affairs Party media outlet, offering in-depth analysis and commentary on trending topics in the news,” and described the content as “a global perspective, a Chinese point of view, explaining current events and discussing all manner of things.”

On Chinese social media, there is routine censorship of content praising so-called “western values” such as democracy, rule of law, human rights, freedom of the press, and freedom of speech. In recent years, there has also been an uptick in the censorship of content and works referring to failed or despotic emperors and other figures from antiquity, particularly if that content is viewed as being obliquely critical of Xi Jinping’s rule. In October, a reprint of the historical biography “The Chongzhen Emperor: Diligent Ruler of a Failed Dynasty” was pulled from bookstore shelves and online booksellers due to a cover redesign and promotional quotes that seemed to implicitly criticize Xi Jinping. (One blurb on the book’s wrapping read: “The diligent ruler of a failed dynasty, Chongzhen’s repeated mistakes were the result of his own ineptitude. His ‘diligent’ efforts hastened the nation’s destruction.”) The name “Chongzhen” and related topics were later search-blocked on Weibo, with searches only showing results from verified users. Continue reading

China Project closing?

Happy new year MCLC.

I am wondering if anything more has come to light regarding the closure of the web journal “The China Project” which succeeded “SUP China.”

The China Project web journal was closed down in December for no clear reason, but there was some mention of withdrawal of funds. Were the financial support withdrawn to kill the journal? For what purpose?

We know that one of the key sponsors/financiers, Anla Cheng, who was closely involved and listed as founding the SUPChina journal in 2015, is also involved in both the socalled Committee of 100 Chinese in America, and in the China Institute in New York, neither of which has ever said anything, or permitted any kind of activity that touches on, let alone criticising the monstrous atrocities now under way in Xinjiang (East Turkestan).

At one point, she suggested to the South China Morning Post that the mass atrocities is only a problem of different “perceptions” (!), not reality (see here), and refused to clarify.

Given this context, it is very difficult to avoid speculating that the CP closure had something to do with a desire to silence the good work of the China Project journal, in regularly featuring several knowledgeable writers on the Chinese atrocities in Xinjiang (East Turkestan).

Magnus Fiskesjö,  <magnus.fiskesjo@cornell.edu>, or: <nf42@cornell.edu>

Unfit for Chinese eyes, part two

Source: China Digital Times (1/2/24)
The Top ███ Chinese ██████s of 2023 (Part Two: Comedy to Tragedy)
By 

In part two of our retrospective on the most sensitive topics of 2023, as selected by our Chinese team, we focus on dissent and disasters. In part one we covered long-standing taboos on discussions about Xi Jiping and the Tiananmen Massacre, as well as the increasingly explosive problem of youth discontent. The following six themes are not the “most censored” words of 2023 but rather some of the more important censored themes. Each section will lead with censored terms and then follow with a brief explanation of their provenance and context. For more on many of these themes, see CDT’s newly launched ebook, “China Digital Times Lexicon: 20th Anniversary Edition.”

Dissident Leanings

Censored termsChizi, Wang Yuechi, Slap, Lew Mon-hung

Comedy proved a notable avenue for dissent in 2023. Chinese comedians performing abroad broke new ground with politically minded stand up routines. Many of them have paid a price for their humor. Wang Yuechi, known by his stage name Chizi, had all his Chinese social media accounts deleted after performing a North American stand-up tour during which he touched on human rights, Xinjiang, and the changes to China’s constitution that have allowed Xi to indefinitely extend his tenure as state president. One stand up comedian in China was issued a lifetime ban for an innocuous joke about the People’s Liberation Army and his dogs. Revitalized corps of “culture cops” stirred further anxieties that the space for humor is now even more tightly closed. Continue reading

Unfit for Chinese eyes

Source: China Digital Times (12/29/23)
THE TOP ███ CHINESE ██████S OF 2023 (PART ONE)
Posted by 

The following themes, and the six to be covered in part two, are not the “most censored” words of 2023 but rather a retrospective of topics that the Party-state deemed unfit for Chinese eyes, selected by our Chinese team. While some of the censored terms themselves are new, they touch on familiar issues: the personality cult around Xi Jinping, the 1989 democracy movement and its suppression, ongoing youth dissatisfaction, unlikely dissidents, the privileges of the Party-connected, shoddy construction leading to the death of children, botched disaster responses, a cover-up, and protests. Each section will lead with censored terms and then follow with a brief explanation of their provenance and context. For more on many of these themes, see CDT’s newly launched ebook, “China Digital Times Lexicon: 20th Anniversary Edition.”

Xi Jinping’s New Clothes

Censored termsUnanimous Election, 2952, The Second Coming of Yuan Shikai, Yuan Shikai, The Emperor’s New Clothes, Eliminating The Emperor’s Cronies, Chongzhen, Big G, The One Who Should’ve Died Didn’t, Lil’ Bottle’ Wishes He Were Human, Too! 

On March 10, China’s rubber-stamp congress re-elected Xi Jinping to a third five-year term as President—an unprecedented move made possible by a 2018 revision to the Chinese constitution that repealed term limits. A massive surge of censorship followed. Banned terms included “unanimous election,” a phenomenon Party leaders including Xi himself had once criticized as undemocratic. People’s Daily even removed a 2011 essay it had published warning, “if the people’s will continues to be hijacked through ‘unanimous elections,’ it will fuel public resentment.” The number “2952” was also banned. Xi received 2952 votes for, none against, none abstaining. References to the 20th century dictator Yuan Shikai were also censored. 111 years earlier to the day, Yuan was elected president of the nascent Republic of China, only to later declare himself emperor. The term “The second coming of Yuan Shikai,” a pun in the original Chinese on the term “Anime, Comics, and Games,” was censored, as were simple “this day in history” articles about Yuan. Continue reading

Omerta on history

Source: China Digital Times (12/20/23)
Party-State’s Omerta on History Mutes Popular Book Series, Academic Discourse, and Genghis Khan
By Cindy Carter

Some recent restrictions placed on historical books, museum exhibits, and academic discourse have brought renewed attention to the Chinese Communist Party’s attempts to rewrite history, control the historical narrative, and combat what the Party perceives as “historical nihilism.”

Earlier this month, acclaimed historian and Xiamen University professor Yi Zhongtian’s 24-volume series on Chinese history was pulled from bookstore shelves after the publisher announced it was making revisions to the long-running series in order to “comply with official requirements.” “Yi Zhongtian’s History of China” (《易中天中华史》Yì Zhōngtiān Zhōnghuá Shǐ), which encompasses prehistoric China to the modern age, is the product of Yi’s decades of scholarship, as well as his popular history lectures on CCTV-10’s “Lecture Room” series. Overseas political analyst Liang Jing (梁京) once praised Yi Zhongtian for subverting the historical distortions of Chinese officialdom, and imbuing the telling of Chinese history “with the spirit and values of modern civilisation.”

An article from WeChat public account 进击的熊猫 (jìnjī de xióngmāo, “Attack Panda”) examines the political sensitivities behind the current “crisis” in the publication of history books, and suggests three possible reasons why the Party-state might have objected to Yi Zhongtian’s approach to Chinese history. The first is Yi’s argument that true Chinese civilization took hold approximately three and a half millennia ago, in contrast to the “5000 years of Chinese civilization” frequently quoted by state media and Party propagandists. The second is the fact that Yi’s assessments of historical figures and events often diverge from orthodox CCP interpretations, causing some to accuse him of “using the past to satirize the present.” The third reason is Yi’s lively, humorous, vernacular writing style, and his frequent use of contemporary slang and internet buzzwords to help modern readers relate to events in the distant, and not-so-distant, past. Some of Yi’s critics see this approach as disrespecting and belittling—or even distorting and tampering with—the serious business of Chinese history. Continue reading

Online writers village

Source: Shine.cn (12/15/23)
Online writers village unveils five-year plan to boost genre
By Wu Huixin

Online writers village unveils five-year plan to boost genre

A forum on the social and market value of adapting online literature into film and television and its international success was held to mark six years from the establishment of the China Internet Writers Village in Hangzhou’s Binjiang District.

The China Internet Writers Village in Binjiang District is the nation’s only community aimed at boosting the development of online literature. Around 275 noted writers have signed contracts to set up studios in the village thus far.

The village recently unveiled its five-year plan (2023-27) to commercialize more Internet literature and expand the overseas market.

“The village will help writers cater to different market segments, since the customer positioning and target segments for different works can vary substantially,” said Guan Pingchao, vice chief of the village. “Official organizations are going to support writers building a bridge between domestic and foreign markets.”

The plan forecasts writer numbers to reach 600 with royalty income of 500 million yuan (US$70.3 million) by 2027. Some 500 Internet novels would be published in other countries with hopes of reaching revenue of 5 billion yuan overseas. Continue reading

The absurdity of China’s speech limits

Source: NYT (12/20/23)
An Egg Fried Rice Recipe Shows the Absurdity of China’s Speech Limits
阅读简体中文版 | 閱讀繁體中文版
A popular chef’s video was attacked as a jab at Mao Zedong’s dead son. But what if a recipe for egg fried rice was just a recipe for egg fried rice?
By Li Yuan

Credit…Xinmei Liu

The United States is entangled in an emotional debate about antisemitism and free speech on college campuses. The latest speech debate in China is about a chef’s video on how to make egg fried rice.

Egg fried rice is a staple of Chinese home cooking and one of the first dishes many Chinese learn to cook. Think of mac and cheese in America. That was probably why Wang Gang, one of China’s most popular food bloggers, has made multiple recipe videos about the dish in the past five years. His “perfect” fried rice recipes attracted reviews, and reviews of those reviews.

Then one of those videos drew the wrath of the official Chinese media and internet.

His offense? He posted an egg fried rice video on Nov. 27, two days after the anniversary of the death of Mao Anying, son of the founder of the People’s Republic of China, Mao Zedong. Mao Anying was killed in the Korean War while, legend has it, cooking egg fried rice. Continue reading

Policing pessimism

Source: China Media Project (12/14/23)
Policing Pessimism, and Everything Else
By David Bandurski

The latest notice from China’s top cyberspace control body is clear about just one thing — the absurdity that ensues when an authoritarian system tries to be specific about everything it wants to erase, and everything it doesn’t.

The Cyberspace Administration of China (CAC) has struck again. In the latest move in a “clear and bright” (清朗) campaign that has unfolded relentlessly this year, the country’s top internet control body said Tuesday that it would target a range of undesirable attitudes and values in short videos.

The release from the CAC outlines three broad types of content, including “fake information” (虚假信息), “misconduct” (不当行为), and “incorrect concepts” (错误观念). And while some of the language points vaguely to instances of misbehavior that could have real implications for the public, much of it looks like regulatory compulsion from a system that simply cannot stop clarifying itself — to the point that nothing is clear.

The section on fake information begins with what might seem legitimate prohibitions, such as against using AI technology to make fake short videos that impersonate others. Immediately, however, political demands crash onto the scene. The third caution, dealing with “reckless falsification and fabrication,” says short videos must not “alter or take out of context authoritative information issued by government offices.” Continue reading

The vicious cycle of rumor

Source: China Media Project (12/7/23)
The Vicious Cycle of Rumor in China
Internet control authorities in China routinely portray “online rumors” as a threat to public well-being. But the real concern, which has nothing to do with factualness or accuracy, is that they might be harmful to the Party’s well-being — a fact that inflates the value of rumors, including truly false information.
By David Bandurski

A cartoon posted to the official government web portal of Chongqing Municipality portrays “online rumor” as a fist strangling the internet.

In its latest action to rein in errant behavior on social media platforms in China, the country’s top internet control body announced this week that it had shut down 1,660 online accounts, alleging they had either disturbed social order or “fabricated public policies.”

Posting a statement to its website on Wednesday, the Cyberspace Administration of China (CAC) paired news of the crackdown with eight typical cases from platforms including Weibo, the popular microblogging site, and the short-video sharing platform Kuaishou, to illustrate the nature of the violations.

As is typical of regulatory language on information in China, the notice couched the actions in metaphors of health and safety, urging the need to prevent the spread of fake information to “purify the online environment.” But a closer look at the cases cited by the CAC suggests a real public interest in issues such as safety, food security, regulatory overreach, and the rights of gig economy workers — and an appetite for related information that is not mediated and controlled by the Party-state.

Are the public opinion controls of the CCP fighting rumors, or feeding them? Continue reading

Worldconned

Source: Uyghur Times (12/3/23)
Worldconned: How China Co-Opted Sci-Fi’s Crown Jewel Amidst the Uyghur Genocide
By Danielle Ranucci

Illustaration: IMAGE – AI image creator

Last month, Chengdu, China hosted the 81st World Science Fiction Convention. Known as Worldcon, this annual convention is the site of the prestigious Hugo Awards—sci-fi’s equivalent to the Oscars. Past Hugo winners include household names like George R.R. Martin and Stephen King. Yet as over 20,000 people flocked to Chengdu’s futuristic-looking Worldcon site, China was committing one of the largest genocides since the Holocaust.

China is detaining 2 million Uyghurs, Kazakhs, and other ethnic populations in concentration camps in the East Turkestan region. Meanwhile, the regime seeks to avoid accountability and improve its image through reputation laundering, such as taking advantage of voting irregularities to become the host of the prestigious Winter 2022 Olympics. Or to buy Worldcon.

Worldcon happens in a different country each year. Countries submit “site bids” to host it—there’s no overarching organization regulating the process, and each host is independently in charge of overseeing its own year’s Worldcon.

Site bids are voted on two years in advance by members of that year’s Worldcon. Anyone can pay a fee to become a member. Members can attend Worldcon and vote on site bids. Meanwhile, people who pay to become “Supporting Members” don’t attend Worldcon, but can still submit mail-in votes for site bids.

In 2018, China submitted a bid to host the 2023 Worldcon in Chengdu. Its main competitor was Winnipeg, Canada. Yet Chengdu won by a landslide: 2,006 votes to Winnipeg’s 807. More than 1,900 of the Chengdu votes were mail-in ballots, mostly from China. Of those ballots, 1,586 had no street address for the voter. Continue reading

Translating Chinese Internet Literature–cfp

Call for Contributions for an Edited Volume
Translating Chinese Internet Literature: Global Adaptation and Circulation
Publisher: Routledge (Routledge Studies in Chinese Translation)
Deadline for abstracts: 15 January 2024
Editors: Wenqian Zhang, University of Exeter, UK; Sui He, Swansea University, UK

Chinese Internet literature (CIL), also known as Chinese online/web/network literature, refers to “Chinese-language writing, either in established literary genres or in innovative literary forms, written especially for publication in an interactive online context and meant to be read on-screen” (Hockx 2015, 4). While CIL is commonly equated with Chinese web-based genre fiction known for entertainment value, it encompasses a broader range of genres such as poetry and comic strips, covering realistic themes prevailing in serious literature (Inwood 2016; Feng 2021). CIL is born-digital, but it differs essentially from ‘electronic literature’ or ‘digital literature’ that originated in the West. While Western e-literature is “more technology-oriented” (Duan 2018, 670) and usually involves “some sort of computer programming or code” (Hockx 2015, 5–6), CIL is relatively less technologised and experimental in format. In fact, what makes CIL stand out is its interactive features facilitated by professional literary platforms, its underlying profit motive, and mass participation in terms of literary writing, reading and criticism (Hockx 2015).

Over the past three decades, the proliferation of CIL has been fuelled by advancements in internet technology and formulation of larger social media communities, alongside other key factors such as economic growth and the constantly changing ideological and political discourses in and outside mainland China. One notable landmark in the trajectory of CIL is the implementation of a pay-per-read business model by the literary website Qidian (起点 Starting Points) in 2003 – in this model, Qidian charges readers for accessing serialised popular novels and their ‘VIP chapters’ (Hockx 2015, 110). This step marks the beginning of the commodification of CIL. It reshapes the literary writing practices and author-reader/producer-consumer dynamics in Chinese cyberspace (Schleep 2015, Tian and Adorjan 2016). Further developments along this line have enabled CIL to grow into a streamlined industry and mature ecosystem, with a vast number of popular titles being adapted into films, TV/web series, video games and other types of media products, generating enormous economic value and revenue. Continue reading