Communication in China: Political Economy, Power, and by Yuezhi Zhao

By Yuezhi Zhao

This authoritative examine explores China's swiftly evolving polity, financial system, and society throughout the prism of its verbal exchange process. Yuezhi Zhao deals a multifaceted, interdisciplinary research of communique in China and its relevant position within the fight for keep an eye on through the country's upward thrust to international energy. The in all its forms-ranging from the inside track media to leisure shops to the Internet-has been a serious battleground between various social forces during this interval of wrenching switch. the writer explores adjustments within the constitution and content material of chinese language conversation in gentle of the quick evolution of state-society kinfolk to bare the profoundly contradictory, conflicted, and unsure nature of China's ongoing transformation.

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Extra info for Communication in China: Political Economy, Power, and Conflict (State and Society in East Asia)

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By the early 2000s, the government had stepped up efforts to certify journalists. In 2003 the PD, the GAPP, and the SARFT launched a nationwide compulsory training program for journalists. With the exception of journalists who already had high professional rank (in China, journalists, like university professors, are on a professional ranking system), all other journalists, regardless of whether they had a journalism degree, were required to take a training program in official ideology, media policies and regulations, journalism ethics, communication theory, and related topics.

Qxd 36 12/12/07 7:18 AM Page 36 Chapter 1 (zhengque daoxiang) in the Chinese media, which means to promote a dominant interpretation of social reality and ensure coordinated articulation and promotion of a politically correct “main melody” (zhu xuanlü) in the cacophony of media voices. This in turn implies two changes. ”65 Second, this implies a strategy of differentiated control across media outlets and types of media content: television, which has the broadest audience reach, is most tightly controlled.

In 1980 the “four great freedoms” (sida ziyou)— the right of the people to “speak out freely, air views freely, hold great debates, and write big-character posters” (daming, dafang, da bianlun, dazibao)—which were entrenched in the Chinese Constitution in 1975 and invoked by Democracy Wall activist Wei Jingsheng in self-defense at his trial in 1979, were deleted from the Chinese Constitution. 2 Internationally, media portrayal of the border war with Vietnam as a “self-defensive” patriotic war and popular culture representation of the war in the early 1980s, epitomized by the hit film Wreaths under the High Mountains and its patriotic theme song, served to unify a national population struggling to recover from the divisive “class struggles” of the Cultural Revolution and inaugurated the reform era’s nationalistic orientation.

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