The art of useless : fashion, media, and consumer culture in contemporary China
著者
書誌事項
The art of useless : fashion, media, and consumer culture in contemporary China
(Global Chinese culture)
Columbia University Press, c2021
- : pbk
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
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  アメリカ
注記
Includes bibliographical references (p. [241]-256) and index
内容説明・目次
内容説明
Since embarking on economic reforms in 1978, the People's Republic of China has also undergone a sweeping cultural reorganization, from proletarian culture under Mao to middle-class consumer culture today. Under these circumstances, how has a Chinese middle class come into being, and how has consumerism become the dominant ideology of an avowedly socialist country? The Art of Useless offers an innovative way to understand China's unprecedented political-economic, social, and cultural transformations, showing how consumer culture helps anticipate, produce, and shape a new middle-class subjectivity.
Examining changing representations of the production and consumption of fashion in documentaries and films, Calvin Hui traces how culture contributes to China's changing social relations through the cultivation of new identities and sensibilities. He explores the commodity chain of fashion on a transnational scale, from production to consumption to disposal, as well as media portrayals of the intersections of clothing with class, gender, and ethnicity. Hui illuminates key cinematic narratives, such as a factory worker's desire for a high-quality suit in the 1960s, an intellectual's longing for fashionable clothes in the 1980s, and a white-collar woman's craving for brand-name commodities in the 2000s. He considers how documentary films depict the undersides of consumption-exploited laborers who fantasize about the products they manufacture as well as the accumulation of waste and its disposal-revealing how global capitalism renders migrant factory workers, scavengers, and garbage invisible.
A highly interdisciplinary work that combines theoretical nuance with masterful close analyses, The Art of Useless is an innovative rethinking of the emergence of China's middle-class consumer culture.
目次
Acknowledgments
Introduction: The Trouble with Naming: Middle-Class Culture, Petty-Bourgeois Sensibility, and Zhuang ( )
1. Dirty Fashion: Ma Ke's Fashion Exhibit Useless (2007), Jia Zhangke's Documentary Film Useless (2007), and Cognitive Mapping
2. The High-Quality Suit, Class Struggle, and Cultural Revolution: The Politics of Consumption in Xie Tieli's Film Never Forget (1964)
3. "Mao's Children Are Wearing Fashion!" Romantic Love, Fashion Consumption, and Modernization Politics in Huang Zumo's Film Romance on Lu Mountain (1980)
4. Imag(in)ing the Chinese Middle-Class Culture: White-Collar Work, Romantic Love, and Fashion Consumption
5. Between Production and Consumption: Chinese Migrant Factory Workers in Documentary Films and Ethnographic Works
6. The Psychic Life of Rubbish: On Wang Jiuliang's Documentary Film Beijing Besieged by Waste (2010)
Notes
Works Cited
Index
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