
Contents
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Background Background
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Professional Organizations Professional Organizations
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Worker-Specific Cartooning Groups Worker-Specific Cartooning Groups
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Cartoon/Humor Magazines Cartoon/Humor Magazines
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The Accelerated Metamorphosis of Comics The Accelerated Metamorphosis of Comics
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The Peaking and Bottoming-Out of Lianhuanhua The Peaking and Bottoming-Out of Lianhuanhua
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The Hybridization of Manga and Xinmanhua The Hybridization of Manga and Xinmanhua
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New Breed of Cartoonists New Breed of Cartoonists
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Striking out at vulgar popular culture Striking out at vulgar popular culture
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On the fickleness of contemporary culture On the fickleness of contemporary culture
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The market value of the arts is secondary to social value The market value of the arts is secondary to social value
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A conservative and patriotic view of arts A conservative and patriotic view of arts
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Arts must not chase after the foreign Arts must not chase after the foreign
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On the need to sanitize foreign art forms On the need to sanitize foreign art forms
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Foreign films stimulate the domestic industry Foreign films stimulate the domestic industry
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On the need for greater control of new art forms On the need for greater control of new art forms
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The State’s Roles in Cartooning The State’s Roles in Cartooning
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The Government as Supporter of Comics and Animation The Government as Supporter of Comics and Animation
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The Government as Regulator and Censor of Comic Art The Government as Regulator and Censor of Comic Art
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The Government as User of Comic Art The Government as User of Comic Art
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Summary Summary
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5 Reform, Modernization, Market Economy, and Cartooning
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Published:July 2017
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Abstract
The deaths of Mao Zedong and Zhou Enlai in 1976 and subsequent arrests of the “Gang of Four” for their perpetuation of the Cultural Revolution paved the way for cultural reform, including in the realm of cartooning. After some hesitancy, cartoonists attacked the “Gang of Four” and in some cases, followed the “Scar” art tenets that gave them a sense of individualism and advocated that the audience be active. Professional cartoonists organizations were instituted and individual cartoonists began to organize common people into worker-related cartoon groups for farmers, workers, and soldiers. New satire periodicals and columns in newspapers provided outlets for cartoonists. Lianhuanhua sales peaked and then bottomed out; Japanese-originated, Chinese manga hybridized with new comics (xinmanhua), and independent cartoonists popped up as comic book and online artists. The state played key roles in supporting comics and animation with large sums of money, tax incentives, and subsidies, but also continued as a regulator and censor under a revamped infrastructure, and found ways to use comic art to suit its purposes.
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