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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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China has finally realized its ‘peaceful rise.’ Now, rather than just a rise to one of many great powers, China wants to become an empire, and that means China wants to build a cultural soft power as well. Here, I intend to look at the correlation between ongoing commercialization of culture in China and ‘Balinghou’, the group that will lead the nation in its near future.
In the era of commercialization that accompanied neoliberalizaton, the ‘Balinghou’ share a certain social experience in the commercialization of culture. Xiao Shenyang, an Er-ren Zhuan actor, represents the ‘Balinghou’ experience. With help from his mentor Zhao Benshan, he created a TV show for CCTV, ‘Chunwan’, which depicts everyday life of the mass in a medium of culutural and yet commercial product. Also, a TV Producer Zhao Baogang depicted the life and emotions of ‘Balinghou’ in the ‘Fendou’. However, he is criticized that his depiction focuses on few-and-far-between well off, middle class ‘Balinghou’ people rather than on sober reality that most ‘Balinghou’ people face. Han Han started as a fiction writer crtically praised for writing stories that depict real lives of the ‘Balinghou’. Later, he emerged as a public intellectual by being a cyber pundit. However, even his emergence is sometimes criticized as a commercialization of cultural criticism, to meet the market"s demand in it.
Currently, nothing in China can avoid consideration of commercialization, but that does not mean there is any accompanied progress of either modern individiualism or modern liberty. This phenomenon is a result of mixture between the traditional Chinese society and spread of socialism within. And such a phenomenon is, de facto, the Chinese socialism.
In the era of commercialization that accompanied neoliberalizaton, the ‘Balinghou’ share a certain social experience in the commercialization of culture. Xiao Shenyang, an Er-ren Zhuan actor, represents the ‘Balinghou’ experience. With help from his mentor Zhao Benshan, he created a TV show for CCTV, ‘Chunwan’, which depicts everyday life of the mass in a medium of culutural and yet commercial product. Also, a TV Producer Zhao Baogang depicted the life and emotions of ‘Balinghou’ in the ‘Fendou’. However, he is criticized that his depiction focuses on few-and-far-between well off, middle class ‘Balinghou’ people rather than on sober reality that most ‘Balinghou’ people face. Han Han started as a fiction writer crtically praised for writing stories that depict real lives of the ‘Balinghou’. Later, he emerged as a public intellectual by being a cyber pundit. However, even his emergence is sometimes criticized as a commercialization of cultural criticism, to meet the market"s demand in it.
Currently, nothing in China can avoid consideration of commercialization, but that does not mean there is any accompanied progress of either modern individiualism or modern liberty. This phenomenon is a result of mixture between the traditional Chinese society and spread of socialism within. And such a phenomenon is, de facto, the Chinese socialism.
목차
Ⅰ. 들어가기
Ⅱ. 상품화 시대와 ‘80허우’
Ⅲ. CCTV의 ‘춘완(春晩)’ 공간과 전통/향촌 문화의 상품화
Ⅳ. Drama 공간과 삶의 상품화
Ⅴ. 인터넷 공간과 비판 문화의 상품화
Ⅵ. 나오기
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Abstract
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UCI(KEPA) : I410-ECN-0101-2015-910-001627696