Drawing on cultural trauma theory, this book investigates how collective memory of the Nanjing Massacre is fashioned in China and how the mass media, political power and public praxis jointly shape the politics and culture of memory in contemporary China. Allowing for the dimensions of history and different mediating spaces, the authors first conduct textual analysis of news reports from traditional media since the event took place, revealing that the significance of the Massacre was initially portrayed as a local incident before its construction as a national trauma and finally a collective memory. In a study of physical and online memorial spaces, including the Memorial Hall, commemorative activities on the Internet and new media platforms, the book unveils the production and reproduction of trauma narratives as well as how these narratives have been challenged. The final part further studies the interactions between media and other institutional settings while exploring issues of global memory and reconciliation in East Asia. The title will be an essential read for anyone interested in memory studies, media and communication, and particularly the collective memory of the Nanjing Massacre.

Drawing on cultural trauma theory, this book investigates how collective memory of the Nanjing Massacre is fashioned in China and how the mass media, political power and public praxis jointly shape the politics and culture of memory in contemporary China. Allowing for the dimensions of history and different mediating spaces, the authors first conduct textual analysis of news reports from traditional media since the event took place, revealing that the significance of the Massacre was initially portrayed as a local incident before its construction as a national trauma and finally a collective memory. In a study of physical and online memorial spaces, including the Memorial Hall, commemorative activities on the Internet and new media platforms, the book unveils the production and reproduction of trauma narratives as well as how these narratives have been challenged. The final part further studies the interactions between media and other institutional settings while exploring issues of global memory and reconciliation in East Asia. The title will be an essential read for anyone interested in memory studies, media and communication, and particularly the collective memory of the Nanjing Massacre.

Heritage, Conflict, and Peace-Building examines the possibilities arising from, and challenges associated with, transforming heritage from a casualty of conflict into an opportunity for peacebuilding. The contributors to this book, who hail from academia and practice, present case studies that shed light on the multifaceted factors and conditions influenced by diplomacy, nationalism, victimhood, and the roles of diverse institutional actors in fostering peace. They demonstrate the possibilities and pitfalls of the work heritage does for local communities, the nation-state, and the international community, when these different actors and their peace aspirations and agendas intersect. Looking at heritage and peace processes on all continents, the contributions in this volume amount to a compelling analytical account of how the discourses of heritage and peace connect, overlap, and diverge. They also emphasise that our shared aspiration for peace should not be taken for granted in a heritage context, and that it is incumbent upon heritage scholars and practitioners to be more intentional about the work they wish to do to promote peace. Heritage, Conflict, and Peace-Building will be of interest to scholars and practitioners working in heritage studies, transitional justice, museum studies, international relations, education, history, and law.

Emphasizing the role of documentary in shaping a nation-state’s image, demonstrating social development and promoting cultural exchanges, this book examines the changes in China’s national image in documentaries at home and abroad since 1949. Based on theoretical frameworks of media sociology, political economy of communication and cultural studies, the book traces the development of Chinese documentary and discusses social transformation and cultural representation embodied in documentaries related to China. It is revealed how these works witness, reflect and interact with social transitions in all aspects of a modernizing China, as well as how documentary production struggles among and mediates between technology, market, ideology, social forces and professionalism. In terms of future prospects of documentary in an era when media convergence is burgeoning, the author explores feasible paths to further promotion of cross-cultural communication and China’s national image, by analyzing documentary aesthetics and representative cases of documentary practice. The title will appeal to scholars and students interested in culture and communication, documentary, film, media and Chinese society.

The role of media is becoming increasingly important as globalization has developed. Given fast social transformation and technological development in China, the consequent environmental and health risks demand citizens integrate the communication and prevention of such risks as a significant part of their daily life. This book systematically discusses the communication process of typical environmental risk issues, and the complex interaction among multiple actors, including the public, media, experts, non-governmental organizations, and government in contemporary China. From a media-centered perspective, it applies major theories in the field of environmental and risk communication, and uses a variety of empirical research methods to unravel the complicated and unique experience of communication and governance. Combining theoretical reflections with real-life examples of Chinese scenarios, the authors not only encourage a dialogue between Western and Chinese academia but also inspire students and practitioners to apply risk communication theories to solving real-life problems. The book will appeal to students, scholars, and practitioners of risk and environmental communication studies.

This book explores how Chinese films constructed an image of China in the 1980s through analyzing the characters, composition of space, and conflict patterns of the films. It also examines the relationship between the representations in Chinese cinema and the realities of Chinese society. The study analyzes the imagery, metaphors, and cultural values of Chinese films in the 1980s to discover the common creative focus of Chinese film directors at the time. It also examines the specific creative elements and cultural significance of Chinese cinema in the 1980s. This book is neither a “period history” of Chinese cinema in the 80s, nor a thematic study of the “fifth generation”. Rather, it is an analysis of films as narrative texts that reflected on history. It uses the perspectives revealed by characters, narrative patterns, and conflicts in films of the 1980s to examine how the era was perceived at that time as well as how China’s national future and individuals’ personal futures were being conceptualized. This title will be a valuable resource for scholars and students of Chinese Studies, Contemporary China Studies, Film Studies, and those who are interested in Chinese culture and society in general.

As the famous sociologist Fei Xiaotong argued, “the real life of most Chinese can only be seen in the villages.” Peasants not only comprise a significant part of the Chinese population but represent a distinctive culture and one that is expressed in its own particular way. This makes for an important area of study for scholars in communication studies. This volume investigates how Chinese peasants express their culture and adapt to social change. The author’s research consists of participant observation and interviews of shadow puppetry artists in Guanzhong, China, illustrating how peasant artists have adapted to the historical and social changes since the founding of the People’s Republic of China. He discovers that Chinese peasants integrate urban popular culture with their own aesthetic criteria, even if the mainstream discourse of the Chinese community overlooks the subjectivity of peasants. He goes on to put forwards a creative analytical framework for the studies of the dynamics of “subject-time-space.” Scholars and students of anthropology, sociology, and communication studies, especially rural communication studies, will find this an ideal case study.

This book explores the relationship between social mentality, public opinion, media, and other factors through mixed methods in China, especially since the 21st century. The book deploys qualitative and quantitative research and adopts a multi-disciplinary perspective and diverse research methods. The studies are built on and contribute to the burgeoning literature seeking to anatomise the relationship between social mentality, media, and public opinion from the point of view of sociology and communication. It also aims to explore how media can be used to appease public opinion. As the first systematic study of the interconnection between social mentality and public opinion, this book provides empirical support and a theoretical framework for both areas. It will thus be a great read for students and scholars of communication, sociology, and social psychology, especially for those with a focus on China and new media.

This book attempts to document and analyse the complicated role new media play in the adaptation and integration of China’s new generation of migrant workers. By analysing the interviews and observations of more than 500 migrant workers under the age of 25 between 2010 and 2015, the author tries to understand how new media shape the experiences of this significant group of people at different stages of their lives. This study profiles the daily life of this new generation of migrant workers and examines the intricate connections between media and the reconstruction of migrant workers’ identity, as well as their urban life adaptation and social inclusion. Not only is their interaction with new media a key factor in decisions to migrate to the city in the first place, but it continues to play a crucial role in how their outlook on life, sense of identity, lifestyle, personal relationships, and aspirations change as they navigate their new environment. These findings reveal the impact of new media on China’s accelerating urbanization and modernization. This book will be of interest to students and scholars of contemporary China studies, and those who are interested in the urbanization of China in general.

This book explores societal vulnerabilities highlighted within cinema and develops an interpretive framework for understanding the depiction of societal responses to epidemic disease outbreaks across cinematic history. Drawing on a large database of twentieth- and twenty-first-century films depicting epidemics, the study looks into issues including trust, distrust, and mistrust; different epidemic experiences down the lines of expertise, gender, and wealth; and the difficulties in visualizing the invisible pathogen on screen. The authors argue that epidemics have long been presented in cinema as forming a point of cohesion for the communities portrayed, as individuals and groups “from below” represented as characters in these films find solidarity in battling a common enemy of elite institutions and authority figures. Throughout the book, a central question is also posed: “cohesion for whom?”, which sheds light on the fortunes of those characters that are excluded from these expressions of collective solidarity. This book is a valuable reference for scholars and students of film studies and visual studies as well as academic and general readers interested in topics of films and history, and disease and society. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.