Blowing in the China Wind: Engagements with Chineseness in Hong Kong's<i>Zhongguofeng</i>Music Videos

Chow, Yiu Fai; Kloet, Jeroen de

doi:10.1080/08949468.2011.525492

Cited by 20 publications

(17 citation statements)

References 9 publications

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“…On the Chinese side, scholarship on the politics of media culture has noted government authorities' strategic management of popular music conducive to "national ideologies," nationalist agendas, or "Chineseness" (Ho 2006;Fung 2007;Chow 2010). Ho and Law (2012) discussed how the state uses traditional Chinese culture to legitimise its authority.…”

Section: Conceptual Frameworkmentioning

confidence: 99%

“Bang Bang Bang” – Nonsense or an Alternative Language? The Lingualscape in the Chinese Remake of I Am a Singer

Li¹

2019

chinaperspectives

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Through examining the Chinese remake of the Korean television program I Am a Singer, I explore the questions of how a Chinese musical television reality show performs and represents the newly rising aesthetic demands for de-territorialising what I term the "lingualscape," the shifting landscape of languages intermingled with and liberated from standardised national languages; and how it interplays with affective negotiation in the practices of translation or transplantation within the context of cultural de-territorialisation. This Sino-Korean musical TV program demonstrates nonethnic-centred imaginings across national and state-sanctioned ideological boundaries. The lingualscape performs affective negotiation and rises above the official lingual system, a process through which sincere communication becomes possible in a digital time.

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Section: Conceptual Frameworkmentioning

confidence: 99%

“Bang Bang Bang” – Nonsense or an Alternative Language? The Lingualscape in the Chinese Remake of I Am a Singer

Li¹

2019

chinaperspectives

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“…The Legend of Phoenix represents the mainland's participation in the ''China Wind'' phenomenon that first started in Taiwan and has swept Greater China in the last decade or so. ''China Wind'' songs tend to mobilize traditional Chinese legends and classics in their lyrics and juxtapose Chinese melodies or instruments with trendy global pop styles, particularly R&B and hip-hop (Chow and Kloet 2010). Over the years artists from Greater China markets have produced songs about a variety of Chinese cultural topics, including Chinese painting, calligraphy, tea, medicine, language, mountains, folk opera, terracotta soldiers, and food.…”

Section: The Legend Of Phoenixmentioning

confidence: 99%

When Nationalism Goes to the Market

Gao

2015

Journal of Macromarketing

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To understand the role of the market in the promotion of nationalism, this article focuses on Chinese popular music and examines how nationalism is promoted in China through patriotic songs. It applies Althusser's theory of ''Ideological State Apparatus'' and argues that China has a long history of nationalist mobilization through patriotic songs, which claims both Chinese artists and consumers as subjects of nationalism. As the Chinese popular music industry is now marketized, the market becomes the primary platform where the state, the artist, and the consumer interact, collaborate, and negotiate in the production and consumption of patriotic songs. In implementing their marketing strategies, artists help enhance the reach and effectiveness of Chinese patriotic education by tailoring their songs to well-defined, diverse market segments.

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“…With the prosperity of the music industry in China, commercial popular music and its effects have burgeon in academic studies in recent years (e.g. Chow and de Kloet 2008 2010; Fung ; Fung and Curtin ; Ho ; Moskowitz ). Now, Chinese popular music is considered as a product of increasing urbanisation, modernisation, secularisation and commercialisation in Chinese society (Wang ).…”

Section: Popular Music In Contemporary Chinamentioning

confidence: 99%

“…The first aspect demonstrates the globalisation and multiplicities of Chinese popular music. Scholars have recognised popular music in China as the locality of Chineseness in the global music system, rather than the copycat of western culture (de Kloet 2005a 2005b 2010; Chow and de Kloet 2008 2010 2012; Fung ; Zhao ). In Ho's () analysis of Hong Kong popular music, globalisation in China not only means the ‘new dynamics of re‐localisation’ (Morley and Robins , 116), but also reveals the political constraints – the changing relationships between Hong Kong and mainland China (Ho ).…”

Section: Popular Music In Contemporary Chinamentioning

confidence: 99%

Noise inGuangzhou: the cultural politics of underground popular music in contemporaryGuangzhou

Liu

2014

Area

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Popular music in Guangzhou can be considered as a noise that applies social and political power to challenge the mainstream aesthetics and ideologies, rather than a low culture that lacks aesthetics. The main purpose of this article is to examine the cultural politics of underground popular music in contemporary Guangzhou, drawing on the analysis of its lyrical and sonic meanings through three genres: campus rock/pop, Canton‐rock and urban folk songs. Different types of underground popular music in Guangzhou engender different spaces/places through the lyrical and sonic power, and map out the non‐commercial popular music in south China. These findings not only respond to the previous music geographical studies on lyrics and sounds/voices, but also extend the research areas of Chinese popular music.

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Blowing in the China Wind: Engagements with Chineseness in Hong Kong'sZhongguofengMusic Videos

Cited by 20 publications

References 9 publications

“Bang Bang Bang” – Nonsense or an Alternative Language? The Lingualscape in the Chinese Remake of I Am a Singer

“Bang Bang Bang” – Nonsense or an Alternative Language? The Lingualscape in the Chinese Remake of I Am a Singer

When Nationalism Goes to the Market

Noise inGuangzhou: the cultural politics of underground popular music in contemporaryGuangzhou

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