Mao's propaganda with arts Essay Example | Topics and Well Written Essays - 2000 words

Mao's propaganda with arts - Essay Example Art propaganda was based on the cult of Mao and his unique vision of communist China. As a charismatic leader, he directed propaganda to mass publics and mass media amplified political and social messages. Mao's art propaganda was a product of the more egalitarian, participant forces that emerged in the communist China (Cheek 82). Unlike members of mass cultures, who were almost wholly dependent on their leaders for propaganda, members of the popular culture have gained the ability to initiate messages as well as respond to them. The aim of art propaganda was to remold the individual (Brady 98). Art propaganda was a part of new mass culture created by Mao. On the domestic front, the new government introduced a system of rationing cards to purchase food, clothing, and other scarce commodities essential for everyday living. Curbing and eliminating social ills also loomed large on the agenda, prompting government officials to crack down on black marketeering, religion, and the sale of opium (Cushing and Tompkins 43). In the case of opium, the government imposed stiff criminal penalties, including the execution of suppliers and dealers. By 1951 addiction to opium had fallen off sharply, enabling the government to focus more on the social consequences of drug abuse and on educational and rehabilitation programs for victims and users. The most extreme of this art propaganda was that which went under the name of the new republic and new social order established by Mao (Cushing and Tompkins 45). Art propaganda was one of the most effective and simple ways to influence Chinese society and form national ideals and values. The propaganda was grounded in the needs of totalitarian society to create and exploit mass cultures. Art propaganda flowed from the leader, Mao, to the led, from a few to many, not from many to a few (Cheek 81). Posters and wallpapers were used to educate the peasants in the political process by making them aware of their political power and encouraging them to seize the land and kill their landlords. Following Knight (2002): "He [Mao] recognized and admired the revolutionary potential of China's peasants that had resulted from centuries of feudal exploitation and oppression. He recognised, too, that conditions were deteriorating in the countryside due to the economic effects of imperialism and the political instability resulting from the collapse of the Qing dynasty and the division of China between hostile warlords" (29). In fact, estimates of the number of counterrevolutionaries executed during the early period of Mao's domestic revolution range between 1 and 3 million people, figures that raised the specter of a government-sanctioned reign of terror (Cheek 80). Emotional appeal was made in every major section of art propaganda, and even legal arguments were fundamentally based upon emotionalism. The effort was constantly made to arouse fear and hate of the capitalists, and pity, love, and admiration for the workers and communist regime. A most important phase of this technique was the practice of exploiting idealism. The Chinese