Youth Culture In China

What does it mean to be young in a country that is changing so fast? What does it mean to be young in a place ruled by one Party, during a time of intense globalization and exposure to different cultures? This fascinating and informative book explores the lives of Chinese youth and examines their experiences, the ways in which they are represented in the media, and their interactions with old and, especially, new media. The authors describe and analyze complex entanglements among family, school, workplace and the state, engaging with the multiplicity of Chinese youth cultures. Their case studies include, among others, the romantic fantasies articulated by pop idols in TV dramas in contrast with young students working hard for their entrance exams and dream careers. This book will be essential reading for students and scholars of youth culture, the sociology of youth and China studies more broadly. By showing how Chinese youth negotiate these regimes by carving out their own temporary spaces – from becoming a goldfarmer in a virtual economy to performing as a cosplayer – this book ultimately poses the question: Will the current system be able to accommodate this rapidly increasing diversity?

Examines youth cultures at three historical points - 1968, 1988 and 2008 - and argues that present-day youth culture in China has international and local roots.

Presenting the collaborative work of 13 international specialists of contemporary Chinese culture and society, this book explores the spaces of creation, production, and diffusion of "youth cultures" in China among generations born since the 1980s. Defining the concept of "youth culture" as practices and activities that catalyze self-expression and creativity, this book investigates the emergence of new physical spaces, including large avenues, parks, shopping malls, and recreation areas. Building on this, it also examines the influence of non-physical places, especially digital cultures, such as online social networks, shopping platforms, Cosplay, cyberliterature, and digital calligraphy and argues that these may in fact play a more significant role in Chinese civil society today. As an exploration of how youth can be creative even in a coercive environment, China’s Youth Cultures and Collective Spaces will be valuable to students and scholars of Chinese society, as well those working on the links between space, youth, and culture.

Fengshu Liu situates the lives of Chinese youth and the growth of the Internet against the backdrop of rapid and profound social transformation in China. In 2008, the total of Internet users in China had reached 253 million (in comparison with 22.5 million in 2001). Yet, despite rapid growth, the Internet in China is so far a predominantly urban-youth phenomenon, with young people under thirty (especially those under twenty-four), mostly members of the only-child generation, as the main group of the netizens’ population. As both youth and the Internet hold the potential to inflict, or at least contribute to, far-reaching economic, social, cultural, and political changes, this book fulfills a pressing need for a systematical investigation of how youth and the Internet are interacting with each other in a Chinese context. In so doing, Liu sheds light on what it means to be a Chinese today, how ‘Chineseness’ may be (re)constructed in the Internet Age, and what the implications of the emerging form of identity are for contemporary and future Chinese societies as well as the world.

This book explores the vigorous film cultures of mainland China, Taiwan and Hong Kong from the perspective of youth culture. The book relates this important topic to the wider social, cultural, and institutional context, and discusses the relationship between the films and the changes that today are transforming each society. Among the areas explored are the differences between the three film industries, their creation of new types of screen hero and heroine, and their conflicts with traditional Chinese attitudes such as respect for age. The many films discussed provide fresh perspectives on the ways in which young people are coping with gender, sexuality, class, coming of age, the pressures of education, and major social shifts such as rural to urban migration. They show young adults in each society striving to construct new value systems for a complex, rapidly changing environment.

The Cultural Revolution was an emotionally charged political awakening for the educated youth of China. Called upon by aging revolutionary Mao Tse-tung to assume a “vanguard” role in his new revolution to eliminate bourgeois revisionist influence in education, politics, and the arts, and to help to establish proletarian culture, habits, and customs, in a new Chinese society, educated young Chinese generally accepted this opportunity for meaningful and dramatic involvement in Chinese affairs. It also gave them the opportunity to gain recognition as a viable and responsible part of the Chinese polity. In the end, these revolutionary youths were not successful in proving their reliability. Too “idealistic” to compromise with the bourgeois way, their sense of moral rectitude also made it impossible for them to submerge their factional differences with other revolutionary mass organizations to achieve unity and consolidate proletarian victories. Many young revolutionaries were bitterly disillusioned by their own failures and those of other segments of the Chinese population and by the assignment of recent graduates to labor in rural communes. Educated Youth and the Cultural Revolution in China reconstructs the events of the Cultural Revolution as they affected young people. Martin Singer integrates material from a range of factors and effects, including the characteristics of this generation of youths, the roles Mao called them to play, their resentment against the older generation, their membership in mass organizations, the educational system in which they were placed, and their perception that their skills were underutilized. To most educated young people in China, Singer concludes, the Cultural Revolution represented a traumatic and irreversible loss of political innocence, made yet more tragic by its allegiance to the unsuccessful campaign of an old revolutionary to preserve his legacy from the inevitable storms of history.

In Contemporary Urban Youth Culture in China: A Multiperspectival Cultural Studies of Internet Subcultures, Jing Sun explores contemporary Chinese urban youth culture through analyses of three Chinese Internet subcultural artifacts--A Bloody Case of a Steamed Bun, Cao Ni Ma, and Du Fu Is Busy. Using Douglas Kellner’s (1995) multiperspectival cultural studies (i.e., critical theory and critical media literacy) as the theoretical framework, and diagnostic critique and semiotics as the analytical method, Sun examines three general themes--resistance, power relations, and consumerism. The power of multiperspectival cultural studies, an interdisciplinary inquiry, lies in its potentials to explore contemporary Chinese urban youth culture from multiple perspectives; explore historical backgrounds and complexity of cultural artifacts to understand contradictions and trajectories of contemporary Chinese urban youth culture; recognize alternative medias as a space for contemporary urban Chinese youth to express frustrations and dissatisfactions, to challenge social inequalities and injustices, and to create dreams and hopes for their future; recognize that the intertexuality among cultural artifacts and subcultures creates possibilities for Chinese urban youth to invent more alternative media cultures that empower them to challenge dominations, perform their identities, and release their imagination for the future; invite Chinese youth to be the change agents for the era but not to be imprisoned by the era; and overcome misunderstanding, misrepresentation, or underrepresentation of contemporary Chinese urban youth cultural texts to promote linguistic and cultural diversity in a multicultural, multilingual, and multiracial world. Sun argues that contemporary urban youth need to obtain critical media literacy to become the change agents in contemporary China. They need to be the medium of cultural exchanges in the multicultural, multilingual, and multiracial world. In order to best assist contemporary Chinese urban youth in expressing their voices, portraying their hopes, and performing their historical responsibilities as change agents, Sun sincerely hopes more research will be done on the contemporary Chinese urban youth culture, especially on its contradictions and trajectories, with the intent to shed light on more richly textured, nuanced, and inspiring insights into the interconnection between contemporary Chinese urban youth and media power in an increasingly multicultural, multilingual, and multiracial world.

“Paints a telling portrait of this most restless generation raised in a system that has provided them with unprecedented personal opportunities while denying them political ones. . . . A gifted observer.”—Washington Post "Informative and often humorous . . . Presents a refreshing range of perspectives about being twenty-something in China."—Forbes “Masterfully crafted.”—Los Angeles Review of Books “A perceptive and quietly profound book.”—Booklist, starred review "Compelling and beautifully written."—Prospect China’s new youth are the generation that will change China. Offspring of the one-child policy, with no memory of Tiananmen, they are destined to transform both their nation and the world. Understanding their motivations, dreams, and attitudes is possibly the most important gauge of China’s future direction as it plays an increasingly important role in shaping this century. China’s New Youth follows the lives of six young Chinese as they navigate their aspirations, discontents, politics, and love lives. Their stories include a netizen nationalist, a country migrant, the daughter of a Party member, a rising pop star, and a feminist entrepreneur. With intimate access to this diverse generation, Alec Ash—a young writer based in China since 2012—gives a vivid, immersive, fascinating account of young China as it comes of age. China's New Youth was originally published in hardcover until the title Wish Lanterns: Young Lives in New China. The new paperback edition has been updated with a new preface and afterword by the author and a new foreword by Karoline Kan.