![]() Moreover, the same potent tools that had empowered the Party, in particular its rhetoric of revolutionary subjectivity and its harnessing of modern media technologies, were open as never before to being adopted by the very targets of its efforts at control and censure. ![]() But the state’s control over deeply rooted cultural markets and their products was incomplete. At the same time, the state tried to promote a new pantheon of vigilante-like men in the guise of revolutionary heroes. ![]() As the ruling Chinese Communist Party attempted to reshape society and culture after 1949, it condemned knight-errant tales and made hooliganism a crime. Yet such figures were simultaneously celebrated as knights-errant for their violent heroism in cultural works of enormous popularity across regions and classes. Since at least the late imperial period, Chinese authorities had feared unmarried, impoverished, rootless men as the main source of crime, disorder, and outright rebellion. ![]() ![]() This article is an exploration of media and gender in urban and peri-urban China during the 1950s and early 1960s – specifically, the persistent trope of the “hooligan,” or liumang. ![]()
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