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Original publication and copyright date: 2010.
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.
What has contemporary China inherited from its revolutionary past? How do the realities and memories, aesthetics and practices of the Mao era still reverberate in the post-Mao cultural landscape? The essays in this volume propose “red legacies” as a new critical framework from which to examine the profusion of cultural productions and afterlives of the communist revolution in order to understand China’s continuities and transformations from socialism to postsocialism. Organized into five parts—red foundations, red icons, red classics, red bodies, and red shadows—the book’s interdisciplinary contributions focus on visual and performing arts, literature and film, language and thought, architecture, museums, and memorials. Mediating at once unfulfilled ideals and unmourned ghosts across generations, red cultural legacies suggest both inheritance and debt, and can be mobilized to support as well as to critique the status quo.
The fairy tales and legends of olden China have in common with the "Thousand and One Nights" an oriental glow and glitter of precious stones and gold and multicolored silks, an oriental wealth of fantastic and supernatural action. And yet they strike an exotic note distinct in itself. The seventy-three stories here presented after original sources, embracing "Nursery Fairy Tales," "Legends of the Gods," "Tales of Saints and Magicians," "Nature and Animal Tales," "Ghost Stories," "Historic Fairy Tales," and "Literary Fairy Tales," probably represent the most comprehensive and varied collection of oriental fairy tales ever made available for American readers. There is no child who will not enjoy their novel color, their fantastic beauty, their infinite variety of subject. Yet, like the "Arabian Nights," they will amply repay the attention of the older reader as well. Some are exquisitely poetic, such as "The Flower-Elves," "The Lady of the Moon" or "The Herd Boy and the Weaving Maiden"; others like "How Three Heroes Came By Their Deaths Because Of Two Peaches," carry us back dramatically and powerfully to the Chinese age of Chivalry. The summits of fantasy are scaled in the quasi-religious dramas of "The Ape Sun Wu Kung" and "Notscha," or the weird sorceries unfolded in "The Kindly Magician." Delightful ghost stories, with happy endings, such as "A Night on the Battlefield" and "The Ghost Who Was Foiled," are paralleled with such idyllic love-tales as that of "Rose of Evening," or such Lilliputian fancies as "The King of the Ants" and "The Little Hunting Dog." It is quite safe to say that these Chinese fairy tales will give equal pleasure to the old as well as the young. They have been retold simply, with no changes in style or expression beyond such details of presentation which differences between oriental and occidental viewpoints at times compel. It is the writer's hope that others may take as much pleasure in reading them as he did in their translation.
"This is a fascinating book. It will educate you. Schwartzel has done some extraordinary reporting." — The New York Times Book Review “In this highly entertaining but deeply disturbing book, Erich Schwartzel demonstrates the extent of our cultural thrall to China. His depiction of the craven characters, American and Chinese, who have enabled this situation represents a significant feat of investigative journalism. His narrative is about not merely the movie business, but the new world order.” —Andrew Solomon, author of Far from the Tree and The Noonday Demon An eye-opening and deeply reported narrative that details the surprising role of the movie business in the high-stakes contest between the U.S. and China From trade to technology to military might, competition between the United States and China dominates the foreign policy landscape. But this battle for global influence is also playing out in a strange and unexpected arena: the movies. The film industry, Wall Street Journal reporter Erich Schwartzel explains, is the latest battleground in the tense and complex rivalry between these two world powers. In recent decades, as China has grown into a giant of the international economy, it has become a crucial source of revenue for the American film industry. Hollywood studios are now bending over backward to make movies that will appeal to China’s citizens—and gain approval from severe Communist Party censors. At the same time, and with America’s unwitting help, China has built its own film industry into an essential arm of its plan to export its national agenda to the rest of the world. The competition between these two movie businesses is a Cold War for this century, a clash that determines whether democratic or authoritarian values will be broadcast most powerfully around the world. Red Carpet is packed with memorable characters who have—knowingly or otherwise—played key roles in this tangled industry web: not only A-list stars like Matt Damon, Angelina Jolie, and Richard Gere but also eccentric Chinese billionaires, zany expatriate filmmakers, and starlets who disappear from public life without explanation or trace. Schwartzel combines original reporting, political history, and show-biz intrigue in an exhilarating tour of global entertainment, from propaganda film sets in Beijing to the boardrooms of Hollywood studios to the living rooms in Kenya where families decide whether to watch an American or Chinese movie. Alarming, occasionally absurd, and wildly entertaining, Red Carpet will not only alter the way we watch movies but also offer essential new perspective on the power struggle of this century.