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Three visions of making China great again

factors to help regain the nation the greatness it had enjoyed during the imperial era. By 1978 more pragmatic policies had replaced the Maoist revolutionary goals, turning China into today’s economic powerhouse. Many propaganda posters featured hyper-realistic, ageless, larger-than-life peasants, soldiers, workers and youngsters in dynamic poses battling for development, or exposing class enemies. Not all served strictly utilitarian, abstract goals, glorifying work and personal sacrifice for the greater wellbeing, and some rather seemed to offer a moment of repose. An

in Art, Global Maoism and the Chinese Cultural Revolution
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Numbers Numbers Artwork: Dean Sameshima, Bodily Fluids, 2007 As the novel Numbers (1967) opens, its protagonist, Johnny Rio, has been absent from the life of tricking in Los Angeles for a few years. Upon his return from Texas, and in a quest to find himself through the desire accorded to him by others, he decides to set a challenging goal for himself: to acquire thirty (mostly anonymous) tricks—they are referred to variously as ‘youngmen’ and ‘numbers’—within the short time span of ten days. The novel traces this string of ten days, demarcated by the amount

in Bound together

missile guidance or industrial production (Pantenburg, this volume), serve as devices of surveillance or interactive simulation or provide information in military reports and other ‘discourses of sobriety’ governed by emotion control (Nichols 1991, 3–​4). In contrast, ‘hot’ image operations crucially depend on the affective force of images. They aim to trigger intense affective responses as motors of action in the general public, political factions or powerful individuals. In political conflict such operations are performed by governments, corporations, religious

in Image operations

reveal unprecedented spatial continua. Yet this shift from external threat to internal quality was no easy dissolving of boundaries into fluid motion, for, by its very nature, motion paradoxically reinforced and threatened the stability of the built environment and the human body. Vitruvius and subsequent architectural authors explained how 7 8 Paradox of body, building and motion 4 John Shute, The First and Chief Groundes of Architecture, 1563, Doric Order. Courtesy of Country Life. winds could be directed through cities and interior spaces to create healthy air

in The paradox of body, building and motion in seventeenth-century England

silent. ‘B’ and ‘P’, for instance, are usually at opposite ends of the alphabet but are paired here because the lips make a similar motion to create them.29 Words thus became less static symbols than a sequence of human movements so that the basic units of communication as well were a blur of motion. Some authors even transformed motion into a metaphor for learning about intangible moral values.30 Across The Pilgrim’s Progress, John Bunyan described a virtuous Christian life by narrating how a prototypical ‘Christian’ – an everyman on whom any reader could project his

in The paradox of body, building and motion in seventeenth-century England
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The worker photography movement and the New Vision in America

United States Around the turn of the decade, New Masses ran a series of short articles about a nascent worker photographer movement that was gathering momentum in the emerging Depression. In January 1930, an announcement concerning the ‘All-American Photo Exhibit’ heralded a Workers Camera Club show, and invited images of ‘industrial and farm life, natural scenes, workers homes, labor sports, machines, engines, and pictures of individual workers at their tasks’.2 More details appeared in February 1930 when Frances Strauss relayed responses to the Fourth Annual Photo

in Watching the red dawn
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Coline Serreau and politics (1972–96)

creates an almost automatic acceptance from the viewers. Far from criticising the existing norms of sexual behaviour, Serreau avoids this altogether by giving the trio all the appearances of the ‘norm’. Far from makingher characters eccentrics or outsiders, she legitimates their wayof life by showing their obvious happiness and the total harmony they live in, a harmony only troubled by the traditional ‘norm’: Alex’s ex-husband, Fernand’s ex-wife and Louis’ parents.(The film’s content is discussed in more detail in Chapter 4

in Coline Serreau

second half of the sixteenth century. The decline of glass-painting was a direct result of the Reformation: figurative images were now seen as more Roman Catholic than Protestant and so the demand for pictorial stained glass collapsed. 2 Protestant feelings against religious images ran high, and waves of iconoclasm destroyed large quantities of medieval stained glass. Aristocrats requiring a public record of their lineage and

in Stained Glass and the Victorian Gothic Revival
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Jonathon Shears

the shrinking importance of skilled artisans (Paxton’s prefabricated building was itself an example of mass production). The benefits of industrialisation came at the expense of aesthetic quality for the Arts and Crafts movement. Evidence of the conspicuous nature of consumption and the notion that the Palace was a temple to embryonic  consumer culture  also  meant that the Exhibition came under fire from various religious  quarters. As Geoffrey Cantor (2011) has demonstrated, the  Exhibition  was frequently compared to Belshazzar’s feast where  ‘the gods  of gold

in The Great Exhibition, 1851

colonies) controlled the political frameworks, Alagappa writes: social, cultural, and certain avenues of economic life remained largely outside state control. In these relatively free areas, indigenous groups organized to regulate affairs, provide welfare, educational, religious, cultural and economic services, and, when possible, make representations on behalf of their groups to the colonial authority.5 These patterns of organisation and resistance intensified and extended during the mass movements after the second world war, and saw the departure of the colonial

in Art and human rights