Art and images were and continue to be central channels for the transnational
circulation and reception of Maoism. While there are several books about the
significance of Mao Zedong and the Chinese Cultural Revolution, this
collection of seventeen essays constitutes the first effort to demonstrate
the global influence of Maoism on art and images, from 1945 to the present.
The Introduction explores the protean quality of this political phenomenon,
especially when it crossed paths with, and was expressed through, the visual
arts. After providing an overview of the contents and organisation of the
chapters, which challenge the traditional geographies of art history, the
Introduction states that collectively, the studies reveal that the cultural
contradictions that are always present in art and art history research
remain a powerful source of political social, and aesthetic
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.