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    Wyświetlanie 1-8 z 8
    Tytuł:
    Budowa nowej socjalistycznej kultury: mobilne zespoły projekcyjne jako narzędzie propagandy w Chińskiej Republice Ludowej w latach 1949–1966
    Building a new socialist culture: mobile projection teams as a propaganda tool in People’s Republic of China 1949–1966
    Autorzy:
    Gruszczyński, Oskar
    Powiązania:
    https://bibliotekanauki.pl/articles/31339967.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Gdański. Wydawnictwo Uniwersytetu Gdańskiego
    Opis:
    After the founding of the People’s Republic of China, the Chinese Communist Party (CCP) embarked on a groundbreaking project: the creation of new art for “workers, peasants and soldiers.” In this great endeavour designed to shape the “new socialist man,” film proved to be one of the most effective tools and the so-called mobile projection teams (MPT) crisscrossing the country were assigned the task of bringing a new politicised art to people living in the most distant parts of China. The present article aims to describe the mechanisms of centrally-planned culture as it functioned in the vast countryside and prove that film projectionists were as important as films itself for the promotion of new state ideology. Through an analysis of Chinese press articles from the 1949–1966 period and the use of most recent Western scholarship in the field the author aims to bring new life to the study of the so far relatively overlooked aspect of Chinese filmmaking: the “seventeen years” (1949–1966) period. Special attention being paid to contemporary accounts of MPT’s work, the author also avails himself of works of fiction in order to present a multi-faceted view of an important aspect of PRC state propaganda. The author believes that this new scope of study will be beneficial not only to scholars of Chinese culture but also bring the largely unknown history of the currently biggest film market in the world to light.
    Źródło:
    Gdańskie Studia Azji Wschodniej; 2022, 21; 80-94
    2353-8724
    Pojawia się w:
    Gdańskie Studia Azji Wschodniej
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kino centralnie sterowane: planowanie tematyczne chińskich filmów oraz próby stworzenia gatunków filmowych w latach 1949–1966
    Centrally planned cinema: thematic planning of Chinese films and attempts to create film genres in the 1949–1966 period
    Autorzy:
    Gruszczyński, Oskar
    Powiązania:
    https://bibliotekanauki.pl/articles/664632.pdf
    Data publikacji:
    2019-10-23
    Wydawca:
    Uniwersytet Gdański. Wydawnictwo Uniwersytetu Gdańskiego
    Opis:
    This article aims to present the basic characteristics and political function of the centralized planning of film themes in PRC cinema in the so-called “seventeen years” period (1949–1966), with particular attention being paid to attempts made by filmmakers to break through this system by coming up with two distinct film genres: the thriller and the positive comedy. The author explains why the political relaxation of the Hundred Flowers Campaign in 1956 made such bold explorations possible and why they were aborted when the ideology of class struggle was raised again on the CCP political agenda in the late 1950s and again in the early 1960s. The article also examines the contribution made to Chinese cinema by filmmakers engaged in genre innovation attempts in the 1960s. 
    Źródło:
    Gdańskie Studia Azji Wschodniej; 2019, 15; 104-118
    2353-8724
    Pojawia się w:
    Gdańskie Studia Azji Wschodniej
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Taniec w kajdanach: chińska cenzura filmowa w latach 1949–1966
    Dancing in chains: Chinese film censorship, 1949–1966
    Autorzy:
    Gruszczyński, Oskar
    Powiązania:
    https://bibliotekanauki.pl/articles/1789316.pdf
    Data publikacji:
    2020-11-20
    Wydawca:
    Uniwersytet Gdański. Wydawnictwo Uniwersytetu Gdańskiego
    Opis:
    After the proclamation of the People’s Republic of China in 1949, and the subsequent nationalization of the domestic film industry three years later, the Chinese Communist Party gained unlimited control over the entire Chinese film world, while film itself became an instrument of state propaganda. In order to fulfill their role ‘in the service of workers, peasants, and soldiers’, filmmakers had to abide strictly by the requirements which the CPC had imposed upon them, and subject themselves to a rigorous film censorship system. Artistic independence and freedom were subject to the political needs of a one-party state and its ideology. The establishment of a full-fledged and extremely complex institutional censorship system in 1953 resulted in the emergence of two distinct phenomena: self-censorship and social censorship. Both of these made it possible for the CPC to gain full control not only over the film industry, but also, in certain aspects, over the minds of filmmakers as well as the audiences. This article aims at revealing the mechanisms of the Chinese censorship system in the period stretching from 1949 to 1966, and to elucidate the disastrous effects which these exceedingly rigorous control mechanisms brought upon the Chinese film industry in general in this turbulent era.
    Źródło:
    Gdańskie Studia Azji Wschodniej; 2020, 18; 103-119
    2353-8724
    Pojawia się w:
    Gdańskie Studia Azji Wschodniej
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

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