Chinese Popular Culture-essay代写

本文是一篇优秀的essay范文- Chinese Popular Culture，供大家赏析学习，这篇论文讨论了中国的流行文化。自20世纪以来，中国的流行文化迅速传播和发展，电视、互联网、手机、媒体等都是流行文化的形式。流行文化具有明显的时间特征。然而，由于信息网络的推广，当代流行文化形式和内容的发展迅速发生了变化。在未来的很长一段时间里，通过信息网络技术的推广，中国的流行文化已经是东方和西方的混合产品。

Introduction

Since the beginning of the 20th century, the popular culture of China has rapidly spread and developed. The contemporary popular culture phenomenon of China not only reflects the new features of social culture development since the 20th century. Meanwhile, all kinds of popular culture phenomena are closely related to the social political and economic development of this country. Therefore, it has become an important symbol of social change. The essay mainly discusses the international elements and Chinese characteristics about Chinese popular culture, and analyses the interaction between each other through specific evidence from primary and secondary materials.

The global elements about Chinese pop culture

In the 1990s, the popular culture started to appear in the culture of China. The most important contents of such medium transmissions as TV, Internet, mobile phone, outdoor advertising media, radio and other media are popular culture with various forms: popular music, overseas drama, etc., which reflect their diversified images in China, especially some global elements affects Chinese people deeply, such as Korean Wave and Hong Kong Cinema

“Korean Wave” generally refers to the regional impact from entertainment things of South Korea (including TV play, movie, music, etc.) appearing at other places. “Korean wave” shows the traditional culture of South Korea to China even the world; it not only propagates the culture of South Korea but also greatly promotes the policy and economy(Cho H.2006,150). Along with the hot broadcast of movies and TV drama of South Korea and the popularity of South Korean culture including music, apparel, etc., the culture of South Korea has an enormous influence on the public of this country. Facing to the “Korean Wave”, the culture of China is challenged to some extent; especially music and TV play which are in a passive position. Among the popular mass cultures, the movies and TV drama are most influential to the Chinese people. Since the 1990s, this country has successively introduced several TV drama of South Korea, for example, What is Love ,The Tale in Fall and My Sassy Girl. “Korean Wave” sweeps this country, and a lot of “South Korean fans” appear. By virtue of a large number of inward flows of South Korean drama, many people pay attention to those so-called “handsome” dressings of figures in the TV drama and scramble to imitate the figures from drama. The idols and stars of South Korea gradually enter the people’s sights and are pursued by a large number of the people. The most popular TV drama, the biggest star and the popular apparel of South Korea become the people’s hot topics, As for the China audiences without the conditions of going abroad, TV play is one of the best ways by which they can know about the fashion and humanistic feelings of South Korea.

Hong Kong movie is pioneer of Chinese film. As a port city, Hong Kong has the redundant population and collects all kinds of cultures. Therefore, the unique culture of Hong Kong comes into being. Hong Kong movie rapidly developed under this background not only reflects how Hong Kong people fuse the cultures from all places but also embodies the avant-garde ideas in the different times(Fung,2008,75). Hong Kong movie always attaches importance to the business films satisfying the audiences, for example, loony tone comedy and action movie (Jones, 1994,150). The movie Shaolin Temple opened the gate by which Hong Kong movie entered Mainland China. There are other excellent cinemas such as Ashes of Time, A Better Tomorrow. Afterwards Hong Kong movie started to influence the culture of Mainland China. “Hooligans” ubiquitous on the streets and all kinds of loony tone spoofs popular by Internet show the shadow of Hong Kong movie. As time goes on, Hong Kong movie also becomes the cultural mainstream of Mainland China, and its impact is deeper. The concept of optimism, self-confidence and individual freedom propagated by Hong Kong movie has deeply influenced the values of one generation of Mainland China. Hong Kong movie with strong commercial character only brings the negative impact to the audiences, for example, “Hooligans” on the streets and all kinds of spoofs. However, Hong Kong movie is not good-for-nothing, and the concept of positivity, optimism and individual freedom propagated by Hong Kong movie also stimulates lots of audiences in the form of screen.

The local element about Chinese pop culture

As for the local element about Chinese pop culture, it is necessary to mention Cui Jian who is called “Chinese Rock Godfather”, and his songs influenced the people between the 1970s and the 1980s. Therefore, he was soul of a time. In 1980s, China started the important historic political and economic change, and the popular music of Europe, America and Japan and rock music of the United States entered Mainland China(Moscowitz, 2010,10). As representative of western music culture, the rock music had the great impact on market and development of music culture of this country after entering China at the beginning of 1980s, when Beijing first accepted the rock music, which not only brought the new form and rhythm even the creativity to the popular music but also brought the new change to the music circles in the distinct way of expression. At the vocal concert of hundreds of singers held for commemorating the international peace year, Nothing from Cui Jian conquered all the hot-blooded youngsters, and his strange costume and peculiar voice inspired the Chinese people.  Cui Jian, with his hoarse and dry vice, expressed the true reflections on life of a young generation, and his image and song formed the strong impact on the popular songs of China. Among the Chinese cultures, especially the modern history of literature, there was a great impact, which became a milestone. Because the rock music’s artistic quality of pursuit of individuality and rebellion matched with the Chinese social mentality in the transition period to some extent, it quickly established the steady audience group mainly including the young people in the cities after germination. At the end of 1980s, in Beijing, there were tens of rock entertainers and bands , including Cui Jian, Panther Band, Tang Dynasty Band, etc. who were influential. Since 1990s, by means of start of market economy, the popular culture had the system security for further expansion of influence. Therefore, through the stimulation of booming development of record industry, the rock music of China further became prosperous.

The interaction between the global elements and local elements about Chinese pop culture

Strong culture affects weak culture

The popular culture always is development product of certain society and reflects the structure, features and requirements of certain society. The contemporary popular culture of China faces two basic social living environments: first, native social living environment in China; secondly, international extraneous social living environment. While the extraneous culture is a strong culture, especially culture of western developed countries, for example, the economic, military, educational, technological and institutional cultures develop to a new height. Compare with the Chinese popular culture, the popular culture from Western country is easily favored and communicated. For example, compared with the popular culture of Mainland China, the popular culture of Europe and America, Japan, Hong Kong and Taiwan easily sweeps China.

The role of mass media in the Chinese pop culture

The popular cultures permeate in our life. If certain thing or phenomenon intends to become one of the popular cultures, its basic condition is the public’s common or mutual recognition on this thing or phenomenon. Because the mass media have the great influence on popular cultures, it may be deemed as creator and promoter of popular cultures. The mass media cause the common recognition on popularity and popular cultures by the public opinions, broaden the people’s common recognition on this popular thing and phenomenon by environment building of popular culture and let the people voluntarily receive the popular cultures by its subtle function. Thus, this consolidates the people’s common recognition on popularity and popular culture and illustrates that the mass media are creator and promoter of popular cultures.

The consumption concept of popular culture in China

The consumption demand of popular culture is reflected through two aspects: first, material level; secondly, spiritual level. The demand of spiritual level is stronger than that of material level even becomes a level with dominant meaning. For filling up, there are many consumption ways instead of eating at McDonald’s. The choice of eating at McDonald’s actually is feeling and atmosphere of eating, an unusual feeing of eating, a sense of approval of consumption idea of McDonald’s or some artificial additional superiority feelings.

The integration between global elements and local elements about Chinese pop culture

The contemporary popular culture of China is deeply influenced by the development of mainstream of China. Therefore, the native popular culture basically has no originality or this originality is strictly restricted. The western development countries provide the mode and standard of popular culture, but the contemporary popular culture of China only responses to the western popular culture. In the region or city where the contemporary popular culture of China is more developed, its mainstream culture is also more developed, its features is closer to the features of international metropolis, and its personality characteristics are more and more fuzzy. However, this cannot result in our serious attention to the destiny of development of contemporary popular culture of China.

The contemporary popular culture is mainly from the popular culture of western developed countries, but this cannot indicate that the popularity scope and extent of this popular culture in China is the same as those in the western countries and that the native culture of China stimulates the western popular culture thoroughly and passively(Braester, 2005,550). On the contrary, the course of popularity of popular culture of a country in another country is interactive. On the one hand, the foreign culture will influence the native culture; on the other hand, the native culture will change the foreign culture. In conclusion, after the western popular culture enters China, we will permeate our own several things including our tradition, belief, individuality and dignity to it for forming the popular culture with the Chinese styles and characteristics. Of course, as for the current situation, the influence degree of western popular culture to use is more obvious than our change degree to the western popular culture.

Conclusion

The popular cultures have the distinct characteristics of time. However, by virtue of promotion of information network, the development and transformation of forms and contents of contemporary popular cultures rapidly change. The reconstruction of popular cultures of China is not a short duration of time. Therefore, in a future long period of time, through promotion of information network technology, the popular cultures of China still are the eastern and western mixed products. As for this point, the multiple elements contained in the future popular cultures of China will be respectively explored by two paths: eastern and western; modern and traditional.

Reference

Jones.A.F, “The Politics of Popular Music in Post-Tiananmen China” in Popular Protest & Political Culture in Modern China.  Second Edition. Ed. Jeffrey N. Wasserstrom & Elizabeth J. Perry.  Boulder:  Westview Press, 1994, 148-167

Fung. Y.H, “Western Style, Chinese Pop: Jay Chou’s Rap and Hip-Hop in China.” Asian Music (Winter/Spring 2008): 69-80

Moscowitz, Marc L. “The Tail Wags the Dog: Taiwan’s Musical Counter-Invasion of China,” in Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations. Honolulu: University of Hawaii Press, 2010. Pp. 1-15

Braester, Y. ““Chinese Cinema in the Age of Commercial Advertisement: the Filmmaker as a Cultural Broker.” China Quarterly 183 (September 2005): 549–564.

Cho H.J. “Reading the ‘Korean Wave’ as a Sign of Global Shift.” Korea Journal. (Winter, 2006): 147-182.

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