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Cheng Zhi'Ang
To cite this article: Cheng Zhi'Ang (1999) Beware of So-Called Popular Culture, Chinese
Sociology & Anthropology, 31:4, 42-57
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Chinese Sociology and Anthropology, vol. 31, no. 4, Summer 1999, pp. 42--57.
0 1999 M. E. Sharpe, Inc. All rights reserved.
0009-4625 I 1999 $9.50 + 0.00.
CHENG ZHIANG
Pan Zhen separatist regime during the Tang dynasty, but as far as
their ideological and aesthetic significance is concerned, they art: a
far cry from the earlier short stories and cannot be counted as gems
of literature. The problem lies in the fact that subject mancr of [his
type has long since lost any real significance, and writing or reading
such adult fairy tales in the twentieth century is like continuing to
write or read knight-errantry literature after Cervantes-both are
ridiculous as well as anachronistic. Moreover, the allegiance to sov-
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incident, and I will not repeat here the points raised in that article.
Regretfully, the person or persons who decided the matter paid ab-
solutely no heed to this article and even arranged to have the film
shown again on the evening of October 1, when the Chinese Peo-
ples Republic was celebrating the forty-fifth anniversary of its
founding! And this was precisely at a time when British imperialism
was obstinately causing trouble on the Hong Kong issue and when
the temperature of Sino-British relations was nearing zero degrees.
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What was the intention of these comrades? This item in the program
was replaced at the last moment only after serious objections were
voiced.
The plots of other works are more complex, and their subject
matter is better camouflaged, as, for example, the widely acclaimed
Japanese TV serial Ah Xin.The story is about the life of the heroine;
it affects people in many different ways and is not lacking in saving
graces. But in spite of the many twists and turns of this TV plays
story line, in the final analysis what it tells the viewer is this: In a
capitalist society, anyone can become a rich man or woman if he or
she is industrious and works hard. Moreover, many viewers missed
this point: At the end of the show, Ah Xin meets again with her
former boyfriend, who has now turned his back on the radical social
ideals he once cherished and has become a staid capitalist. The story
of these two people is a metaphor: Liberation, struggle, and so forth,
are all empty words; only amassing wealth is serious business-this
is the inner core or bottom line of this piece of work.
Appearing on the electronic waves are not only TV plays but also
musical air taids from the West: MTV. An American professor
characterized such programs as holding the lens on female bodies
and said that watching these videos fosters the desire to rape.
Some producers in our country have caught on to this and have
immediately followed suit. A music video, made on the basis of a
song called Little Fragrance about a young country girl, shows
instead a city girl in a three spot bikini and with hair covering her
shoulders, posturing coyly and affectedly. The camera follows her
avidly from feet to legs, navel, and breasts . . . repeatedly displaying
every part of the female body. The same goes for The Pounding of
SUMMER 1999 49
the Breakers Remains Unchanged.6 Even the film Judge Bao has
not been pa red.^ Apparently all have learned this trick of the trade.
Then there is karaoke, which has now become a medium in the
service of sex. Even the completion of that mammoth project
Treasury of Chinese Karaoke Melodies seems to have done little
to rescue its sinking reputation. On April 8, 1994, Han Suyin, at the
Chinese embassy in Berne, commented: Some (Chinese) young
people maintain that karaoke = vogue = progress = modernization.
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ized, is that not so? We have discussed earlier in this paper the
feudal nature of Taiwanese culture. Actually Taiwanese culture is
also a sort of colonial culture. We hope those people who admire
Taiwanese culture will read this passage written by a Taiwanese
scholar:
Now let us view the streets in mainland China. There we also find
a good deal of the patina of colonial culture. All kinds of Japanese
and Western noxious substances are poisoning our children; disco
and rock n roll deafen our ears; the autobiography of Michael Jack-
son, the king of rock n roll, has been printed in three or four
translated versions; and that obscene and foul-smelling autobiogra-
phy entitled Sex by the rock n roll star Madonna, who has been
called the most shameless hussy of the century, has also been
published. Huge photographs of Madonna and of the sex-star Mar-
ilyn Monroe hang in the bedrooms of practically all vogue-con-
scious young people. Strangely enough, Marilyn Monroe has been
52 CHINESE SOCIOLOGY AND ANTHROPOLOGY
before others are philistines, but there are a good many philistines
among them. The poet Gong Liu has pointed out:
Do a careful analysis, and it will not be hard to discover their basic
composition: setting aside the very small minority of high-tech pat-
ent holders, some of them are the scions of high-ranking cadres who
only know how to make colossal profits without capital investment
and how to feast, drink, whore, and gamble; the others basically
consist of able people and courageous elements from among the
peasantry and the lumpen proletariat.
turn them into something comic and ridiculous, and make a joke of
them. In his heart of hearts he is hostile toward noble things, be it
communism (thats utopian stuff ) or love (thats blind).
More than one commentator has taken note of the recurring fa-
ther-and-son theme in Wang Shuos works, and has seen that Wang
Shuo waits for the death of the traditional father, believes that the
father should die and is already dead. Although there is a side to this
of negating ossified and outmoded conventions, there is also a side
that negates and throws out revolutionary traditions. In sum, it is as
Newman has said: There are no more fathers, either dead or
alive.16 Wang Shuo gives voice to the dreams of philistines who
are doing their best to take over the stage of history. And strangely
enough, the culture that represents the ideals of these philistines
not only grandly takes its place in books, newspapers, cinema, and
television but is also praised and rewarded. Disregarding vehement
criticism from various quarters (some of it from Marxists, some of it
from humanists), departments in charge have actually presented
the Collected Writings of Wang Shuo with the Golden Key award!
I fail to understand what young readers will be opening with this
golden key. A treasure chest? Or a Pandoras box? Will they be
releasing the wisdom of humanity, or the ferocity of beasts?
Various grounds have been advanced in defense of the afore-
mentioned colonialist, feudal, and philistine cultures-grounds such
as merging tracks with the world, going along with the tide,
the reader is God, and so on.
Many comrades have come forward to rebut these grounds, and
I was the first to put forward the thesis that 7he reader is not God
(1990, in this publication), which I will not expound here again. But
56 CHINESE SOCIOLOGY AND ANTHROPOLOGY
there are some specious comments that must be cleared up. Some
comrades say: Since literature should serve the people. why
should we reject pop culture? What Dickens wrote at the time
was popular fiction published in installments in newspapers, was
it not? And was Balzac also not a writer of best-sellers! They
also quote Mao Zedong, saying that he always instructed us to
turn our face toward the masses, and so forth. I have noticed that
a specialist doing research in German literature has, since the
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there are ulterior motives behind this call, and it deserves serious
vigilance on our part. I intend to write a special paper to comment
on this matter.
Notes