Connect with us

China Arts & Entertainment

Dying 1000 Times a Year – ‘Japanese Devils’ and China’s War Dramas

In Anti-Japanese war dramas, “Japanese Devils” die a 1000 times a year.

Manya Koetse

Published

on

Chinese TV dramas about the Second Sino-Japanese War (1937-1945) are much discussed online topics this month. On April 7, China’s official censorship bureau spoke out against war-themed TV dramas that are “overly entertaining.”

TV dramas about the Second Sino-Japanese War (also referred to as ‘the War of Resistance against Japan’ 抗日战争) have been popular in China for years.

The Second Sino-Japanese War started in 1937, and merged into WWII in 1941. Although it has been seventy years since the war has ended, the topic is still very much alive on China’s TV screens. In 2012, seventy of China’s major 200 primetime TV shows revolved around this war (Lam 2013).

CHINA/

Recently, China’s State Administration of Press, Publication, Radio, Film and Television (SAPPRFT) announced a limit on TV dramas that sensationalize the history of war.

The critique is particularly directed at popular war dramas that are mockingly called ‘divine Anti-Japanese drama’ (抗日神剧) by Chinese netizens. These TV dramas generally depict the Japanese army as extremely weak and the Chinese protagonists as exceptionally strong.

In these series, the Chinese hero can cut a Japanese soldier in half by just using one hand. The fighting scenes are exaggerated; there is blood splattering everywhere while body parts are flying around.

These series are unacceptable, according to the SAPPRFT, because their mere goal is to entertain viewers. In doing so, they misrepresent history and disrespect the Chinese soldiers who fought to defend the nation. Examples of these TV series are The Wondrous Knight of the War of Resistance against Japan (抗日奇侠) or The Arrow in the Bow (剪在弦上) (Baidu 2015).

japaneseNotorious scene from ‘Anti-Japanese divine drama’ ‘The Wondrous Knight of the War of Resistance Against Japan’.

In response to the recent critique on China’s ‘Anti-Japanese divine drama’, various Chinese media have reported on another type of war drama: the life-like war play.

In Wuxiang, Shanxi Province, there is a theme park dedicated to the Second Sino-Japanese War (Eighth Route Army Park). This theme park harbours a group of 46 actors that perform different war plays on a daily basis. According to Sina News and China’s Lawcourt Evening Newsthe actors greatly disapprove of ‘divine drama’. Instead of distorting history, they claim to provide an accurate representation of the Second Sino-Japanese War.

The article in the Lawcourt Evening News interviews Yang Lei, a 27-year-old actor that has been playing a Japanese soldier (“a Japanese devil”) for over four years in the Eighth Route Army Park.

During the weekends or holidays, the park has hundreds of visitors who come to watch the performance. When it is very busy, Yang has to ‘die’ up to four times a day. “In the past few years, I have died over a 6000 times in total,” he says. The plays take about twenty minutes per show, and are focused on the events of 1943, the year that the Chinese Eighth Route Army fought against Japanese troops in Wuxiang.

One of the shows is about a small village in Anning that is invaded and occupied by Japanese troops. When a Chinese spy steals secret information from their camp, the whole village is held for questioning. A Chinese underground Party member sacrifices his life to protect the spy’s identity. Just when the Japanese general orders to have the entire village killed, China’s Eighth Route Army storms in and wipes out all the ‘Japanese devils.’

1413277676841

dramaiiScene from the play at the Eighth Route Army Park (Sina 2015).

The Eighth Route Army Park performances are different from the ‘divine drama’, say the actors. In the theme park, they imitate reality as much as possible. The ‘Japanese devils’ wear the right yellow uniforms, caps, white gloves and boots. The actors use fake blood and cap guns that create a loud sound and a puff of smoke when the trigger is pulled – everything to make the scenes look real.

“You can play whatever you like, as long as you don’t play a Japanese person.” 

It is not easy playing a Japanese devil. Throughout the years as a Japanese officer, Yang Lei has gone through four military uniforms, fifteen pairs of boots and hundred pairs of socks.

Some of his colleagues are afraid to talk about their job. “I don’t know how to tell my friends and family about my role as a devil,” Liu Chuan says. His grandfather used to be in the Chinese army, and he might not be too happy about his grandson playing a Japanese soldier. The fear of telling relatives is not unreasonable, according to the article, as it has happened before that actors were removed from the theme park by their parents. “You can play whatever you like,” said the parents of one 19-year-old actor: “As long as you don’t play a Japanese person.”


dramaiiiHe has played a Japanese ‘devil soldier’ for years, and is still afraid to tell his grandfather, who served in the Chinese army (Sina 2015).  

dramaThe actors greet the applauding audience after the performance (Sina 2015). 

With all the critique concerning China’s war shows, many media sources report that this is the end for the “divine war drama.” Recent articles blame directors from Hong Kong and Taiwan for these kinds of exaggerated war plays.

The article on the Eighth Route Army Park suggests that this is a place where war is not “over-entertained.” The actors frown upon the “divine drama” because it is not about real history, but about commercial revenue. While saying so, the group of actors at the Eighth Route Army Park entertain their audiences every day. The park in Wuxiang is opened daily from 9.00 to 18.00. A single entrance costs 90 RMB (15 US dollar). Visitors can purchase an electronic ticket through text message and scan it at the entrance. The park, that opened in 2011, has not lost its appeal. While attracting more visitors, Yang Lei and his ‘devil’ colleagues can be expected to die a thousand times more.


japaneseiiiScene from ‘Anti-Japanese divine drama’.

– by Manya Koetse

[button link=”http://www.twitter.com/whatsonweibo” type=”icon” icon=”heart” newwindow=”yes”] Follow us on Twitter[/button]

 

Curious about China’s “Anti-Japanese divine drama”? The video below is a compilation from The Wondrous Knight of the War of Resistance against Japan (抗日奇侠). 

 

References/Sources

Baidu. 2015. 抗日神剧. Baidu Baike http://baike.baidu.com/view/10364874.htm [15.4.15].

Lam, Oiwan. 2013. “China’s Anti-Japanese TV War Dramas Knocked for Vulgarity.” Global Voices, April 2014 http://globalvoicesonline.org/2013/04/14/chinas-anti-japanese-war-films-knocked-for-vugarity/ [15.4.15].

Fawan. 2015. “红色景区里的“鬼子兵.” Fazhi Wanbao 法制晚报 [Lawcourt Evening News], April 14 http://www.fawan.com.cn/html/2015-04/14/content_547245.htm [15.4.15].

Sina. 2015. “日本兵演员:演戏追求严谨不会演抗日神剧.” April 14 http://news.sina.com.cn/s/p/2015-04-14/151731716471.shtml [15.4.15].

Sina 2015. “抗日神剧”活跃荧屏怎能只怪港台导演?” Sina News, April 11 http://ent.sina.com.cn/v/m/2015-04-11/doc-iawzuney3057210.shtml [15.4.15].

 

– Appreciate this article and want to help us pay for the upkeep costs of What’s on Weibo? You can do so here! Every penny helps.

 

[box type=”bio”] koetse.148x200About the Author: Manya Koetse is the editor of What’s on Weibo. She’s a Sinologist who splits her time between the Netherlands and China. She earned her bachelor’s degrees in Literary Studies, Japanese & China Studies and completed her MPhil in Asian Studies. Contact: manya@whatsonweibo.com, or follow on Twitter.[/box]

 

©2014 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Manya Koetse is the editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.

1 Comment

Leave a Reply

Your email address will not be published. Required fields are marked *

China Arts & Entertainment

China’s New Hit Drama ‘Nothing But Thirty’ Thrives in the “She Era”

Chinese latest hit drama ‘Nothing but Thirty’ has 20 billion views on its Weibo hashtag page.

Yin Lin Tan

Published

on

China’s latest TV drama hit Nothing But Thirty is flooding Weibo discussions. With over 20 billion views on its hashtag page, the show is one of the most popular shows of the season and demonstrates that China’s ‘she era’ (ta shidai 她时代) dramas are all the rage. What’s on Weibo’s Yin Lin Tan explains.

“Have you heard of ‘independent at the age of thirty’ (sān shí ér lì 三十而立)?” Wang Manni asks, her hair pulled back neatly and white shirt cleanly pressed. “I hope that, before I’m thirty, I’ll be promoted to supervisor.”

Riding on the wave of female protagonist (‘heroine’ 大女主) shows that have been taking over China’s entertainment scene, Nothing But Thirty (三十而已) is a 43-episode drama by Dragon Television that follows the challenges of three different women who have reached the ever-important age of thirty.

In a society where women are often expected to be married by their late twenties, a show like this, which tackles women’s present-day struggles, both in their personal and professional lives, has resonated with many.

In fact, the show is so popular that at the time of writing, the show’s hashtag (“Nothing But Thirty”, #三十而已#) has over 20 billion (!) views on Weibo.

 

Depicting the struggles of China’s thirty-something women

 

Nothing But Thirty revolves around the lives of three female leads from different walks of life. Gu Jia (Tong Yao) is a capable businesswoman turned full-time housewife; Wang Manni (Jiang Shuying) is an independent, career-oriented sales assistant; and Zhong Xiaoqin (Mao Xiaotong) is your run-of-the-mill office lady.

For Gu Jia, the birth of her son was what truly transformed her into a full-fledged housewife. In many ways, she seems like a perfect wife and mother: well-educated, capable, and thoughtful. But, eventually, she too has to face life’s challenges.

Driven and hardworking, Wang Manni is confident in both her looks and abilities. Her immediate goal, at least at the start of the show, is to achieve professional success. Throughout the show, her resilience is put to the test, personally and professionally.

Zhong Xiaoqin is described by many netizens as the most “average” or “normal” character. She is kind-hearted -sometimes to the point of being a pushover -, and has spent years at the same company without rising the ranks. Though her story might seem mundane at first, this peace is disrupted when her marriage takes a turn for the worse.

 

A story that resonates with the masses

 

“The show attracted wide attention, and it strongly resonated with female audiences. Many thirty-something working women saw their own lives reflected in the show,” Xinhua recently wrote about the show.

Nothing but Thirty currently carries a 7.6 out of 10 rating on Douban, an online reviewing platform.

Though some reviewers criticized how the later episodes of the show were unnecessarily draggy, most praised it for its portrayal of strong female characters, good acting, and largely realistic depiction of women above the age of thirty.

“I saw myself, and also saw the friends beside me,” a reviewer notes.

In China, women are, more often than not, burdened with expectations of getting married and settling down by the time they are in their late twenties. If you’re single and thirty, that’s made even worse.

Those who fall into this category carry the derogatory label of “leftover women” (剩女), a term that reflects how single women above the age of thirty are seen as consolation prizes or even unwanted goods.

Thirty is thus an incredibly important number, especially for women — something that’s clearly reflected in the show’s concept trailer.

Aside from societal expectations of starting a family, some women now also take it upon themselves to build their careers. In fact, you can chase after professional success without burdening yourself with the idea that you must be married – a notion exemplified by the character of Wang Manni.

Nothing But Thirty also showcases the sheer diversity of experiences for women above thirty: you don’t have to be married, you don’t have to be super capable, and you don’t have to be thinking about having children. Each woman goes through her own unique struggles and isn’t necessarily endowed with the so-called “protagonist’s halo.”

Ultimately, the popularity of the show is driven by the three female leads and the actresses who bring these strong characters to life.

By telling a story that is relatable and touches on relevant social issues, namely on expectations of women in society, Nothing But Thirty was able to achieve widespread popularity and is adding another notch on the trend of China’s ta shidai (她时代) dramas. 

 

The rise of ta shidai shows

 

Ta shidai literally translates to “her era” or “the ‘she’ era.”

Ta shidai shows explore what it’s like to be a woman in China today. The female characters are diverse when it comes to both their backgrounds and character arcs; they might have different jobs, different levels of education, or different personalities. These shows mostly center around a strong female lead and/or a main cast that is primarily female.

More importantly, they often feature capable women and how these women overcame the odds to achieve success.

Recent shows like The Romance of Tiger and Rose (传闻中的陈芊芊) and Sisters Who Make Waves (乘风破浪的姐姐) also fall under this category, as do somewhat older hit shows such as Ode to Joy (欢乐颂) and Women in Beijing (北京女子图鉴).

The Romance of Tiger and Rose is set in a society in which women are in charge and men are subordinate, in a daring reversal of gender roles. Though the show has been criticized for using social issues to attract attention, it gained a decent following for tackling topics like gender inequality and women’s rights.

The Romance of Tiger and Rose (传闻中的陈芊芊)

A reality TV competition that swept the Chinese entertainment scene, Sisters Who Make Waves attempted to rebuke stereotypes of women over 30 as “leftover women.”

The show brought together female celebrities above the age of 30 (the oldest competitor was 52), and had them go through a series of challenges, culminating in a girl group formed by the final competitors.

Nothing But Thirty is just another example of a show that’s attempted to depict the realistic struggles of women in modern-day China.

More Chinese dramas that feature women — specifically, their struggles and the expectations that society places on them — are slated to be released in 2020.

Over the past few years, more attention has been focused on women’s rights in China. As feminism becomes an increasingly important topic of discussion in China, strongly facilitated by social media and not without controversy, companies are likely to hop on the bandwagon and continue producing shows that fall squarely in the ta shidai category, given the genre’s rising popularity.

Though we can’t expect every single show to perfectly, accurately, and realistically portray women’s struggles, the fact that more stories like these are being produced already helps bring such conversations into the mainstream. 

Hopefully, the trend of ta shidai shows is a sign that these issues won’t just be tackled on camera, but in real life as well. 

 
Read more about Chinese TV dramas here.
 

By Yin Lin Tan

 Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Continue Reading

China Arts & Entertainment

Two Hour Time Limit for KTV: China’s Latest Covid-19 Measures Draw Online Criticism

China’s latest COVID-19 infection prevention and control measures are drawing criticism from social media users.

Manya Koetse

Published

on

First published

No more never-ending nights filled with singing and drinking at the karaoke bar for now, as new pandemic containment measures put a time limit as to how long people can stay inside entertainment locations and wangba (internet cafes).

On June 22nd, China’s Ministry of Culture and Tourism (文旅部) issued an adjusted version to earlier published guidelines on Covid-19-related prevention and control measures for theaters, internet cafes, and other indoor entertainment venues.

Some of the added regulations have become big news on Chinese social media today.

According to the latest guidelines, it will not be allowed for Chinese consumers to stay at various entertainment locations and wangba for more than two hours.

Singing and dancing entertainment venues, such as KTV bars, can only operate at no greater than 50% maximum occupancy. This also means that private karaoke rooms will be much emptier, as they will also only be able to operate at 50% capacity.

On Weibo, the news drew wide attention today, with the hashtag “KTV, Internet Cafe Time Limit of Two Hours” (#KTV网吧消费时间不得超2小时#) receiving over 220 million views at the time of writing. One news post reporting on the latest measures published on the People’s Daily Weibo account received over 7000 comments and 108,000 likes.

One popular comment, receiving over 9000 likes, criticized the current anti-coronavirus measures for entertainment locations, suggesting that dining venues – that have reopened across the country – actually pose a much greater risk than karaoke rooms due to the groups of people gathering in one space without a mask and the “saliva [drops] flying around.”

The comment, that was posted by popular comic blogger Xuexi, further argues that cinemas – that have suffered greatly from nationwide closures – are much safer, as people could wear masks inside and the maximum amount of seats could be minimized by 50%. Karaoke rooms are even safer, Xuexi writes, as the private rooms are only shared by friends or colleagues – people who don’t wear face masks around each other anyway.

Many people agree with the criticism, arguing that the latest guidelines do not make sense at all and that two hours is not nearly enough for singing songs at the karaoke bar or for playing online games at the internet cafe. Some wonder why (regular) bars are not closed instead, or why there is no two-hour time limit for their work at the office.

Most comments are about China’s cinemas, with Weibo users wondering why a karaoke bar, where people open their mouths to sing and talk, would be allowed to open, while the cinemas, where people sit quietly and watch the screen, remain closed.

Others also suggest that a two-hour limit would actually increase the number of individuals visiting one place in one night, saying that this would only increase the risks of spreading the virus.

“Where’s the scientific evidence?”, some wonder: “What’s the difference between staying there for two hours or one day?”

“As a wangba owner, this really fills me with sorrow,” one commenter writes: “Nobody cares about the financial losses we suffered over the past six months. Our landlord can’t reduce our rent. During the epidemic we fully conformed to the disease prevention measures, we haven’t opened our doors at all, and now there’s this policy. We don’t know what to do anymore.”

Among the more serious worries and fears, there are also some who are concerned about more trivial things: “There’s just no way we can eat all our food at the KTV place within a two-hour time frame!”

By Manya Koetse

*” 餐饮其实才更严重,一群人聚在一起,而且不戴口罩,唾沫横飞的。开了空调一样也是密闭空间。电影院完全可以要求必须戴口罩,而且座位可以只出售一半。KTV其实更安全,都是同事朋友的,本身在一起都不戴口罩了,在包间也无所谓。最危险的餐饮反而都不在意了”

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Continue Reading

Popular Reads