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‘Everybody Was Kung Fu Fighting’ – Shaw Brothers and Chinese Cinema

Run Shaw, the last of the Shaw Brothers, passed away on Jan 7th 2014, at the age of 107. A short history of the Shaw Brothers & Chinese cinema.

Manya Koetse

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Perhaps you’ve seen the famous fighting scenes of Tarantino’s Kill Bill, know who Bruce Lee is, and have watched a kung fu movie at least once in your life – but do you know the Shaw Brothers enterprise? It’s the production company that gave martial art its worldly success on the big screen. Shaw Brothers made everybody go ‘kung fu fighting’, creating a unique Chinese cinema.

Sir Run Run Shaw, also known as Shao Yifu (邵逸夫), was the last living founder of the Shaw Brothers and one of the most influential figures in Asia’s entertainment industry. He passed away on January 7 2014 at the age of 107, becoming an instant trending topic on China’s social media.

Many voices state that Shaw Brothers globalized ‘Chinese cinema’. What’s on Weibo gives you a short history of the Shaw Brothers enterprise, an overview of the internationalization of Chinese cinema, and will answer the question how, if at all, Shaw Brothers represents Chinese cinema.

Shaw Brothers

The history of the Shaw Brothers enterprise traces back to the 1920s, when film was becoming a thriving business in Shanghai. Runje Shaw, the oldest son of a Ningbo merchant family of ten children (of whom seven survived), started in the entertainment business when he bought a bankrupt theater in 1923 and successfully modernized it.

This initial success brought about the 1924 establishment of one of China’s most outstanding film enterprises: Tianyi [Unique], run by four of the Shaw brothers, including Run Run, the youngest. Tasks were divided and the brothers spread across Shanghai, Hong Kong and Singapore to run the company.

During the 1920s and 1930s, Tianyi produced (silent) films that were different from those of other companies that simply copied Hollywood film formulas. In being distinctively different, Tianyi met its audiences’ need to identify with their own Chinese values (Chung 2007, 668-675; Davis 2011, 45). The brothers focused on the reinforcement of China’s traditional morality and cultural values, and kept away from mimicking western films. The Second World War and the establishment of the People’s Republic of China under Mao in 1949 left little room for business opportunities, and Run Run set up the Shaw Brothers enterprise in 1958 British Hong Kong.

u=3717590278,3200134244&fm=23&gp=0A young Run Run Shaw

The company established its own Movie Town in 1961, becoming one of the most flourishing film studios in the world. Although films were initially produced in the Cantonese language, Shaw Brothers turned Mandarin into the official language by the mid-1960s. Through the use of Mandarin and the adaptation of folklore and martial arts subjects, they created a new representation of Chinese culture to the world, leading to a true kung fu craze (Fu 2008, 8). Kung fu soon dominated film industries in Hong Kong and Taiwan, and made it overseas as an international popular formula and style of action (Siu 2008, 74).

This kung fu craze was warmly welcomed by Hollywood, that was pestered by financial losses. Warner Brothers worked together with Shaw Brothers to launch a “kung fu invasion”; these films attracted mainstream US audiences and brought in huge profits, especially because they were made at low costs (Sundiata 2008, 200). Shaw Brothers went on to produce nearly a 1000 movies, becoming the longest running studio in Chinese-language film (Davis 2011, 41).

373_111213154314_1Run Run Shaw at the heyday of Shaw Brothers with crew

Chinese Cinema

The Shaw Brothers enterprise is often mentioned as being tantamount to Chinese cinema. The term ‘Chinese cinema’ is somewhat problematic, since it does not disclose to which geographic or cultural regions it applies. Chinese cinema is incredibly diverse. As Gary Xu (2007) says: “(…) we understand Chinese cinema not as a coherent whole but as the filmmaking practices and films of mainland China, Taiwan, Hong Kong and the Chinese diaspora. Tensions abound in this cinema of different regions, nations, cultures and even languages” (4).

The diversity within Chinese cinema is intrinsically entangled with China’s history and politics. During the Mao years from 1949 to 1976, and particularly during the 1966-1976 Cultural Revolution, the cinema of the People’s Republic of China was state-owned and heavily controlled. Since it was a stable and dominant cinema, Chris Berry (2004) chooses to call this a “classical cinema” (27).

Modern-day Chinese cinema is a product of this so-called classical cinema, the postsocialist cinema and all the transnational cinematic practices that occurred over the twentieth century. Where does this place Shaw Brothers?

Shaw Brothers: An Imagined China

Shaw Brothers largely built its film oeuvre during tumultuous historical times and outside of the People’s Republic of China. Can it, in this way, be considered a ‘Chinese cinema’ at all?

During the 1960s, Run Run Shaw repeatedly told of his global ambitions in interviews; the Shaw Brothers had clear goals in terms of cultural nationalism. Not only did they want to serve Chinese audiences with a Chinese-flavored popular cinema, they also wanted to “bring the East into the West” and allow China into the international cinemas (Fu 2008, 7; Davis 2011, 41).

The Shaw Brothers enterprise was clearly focused on profit and took on the challenge to please an extremely varied audience across multiple regions, cultures and political situations. The company served the interests of the British Hong Kong government by creating a romanticized cultural China on screen, that was free from the radical maoist politics of the Mainland (Davis 2011, 44). It also adhered to various censorship policies by making different versions of the same film: a ‘mild’ one for the Southeast Asian markets, a ‘moderate’ one for Hong Kong and a ‘hot’ edition for the audiences in America, Europe and Japan (Chung 2007, 675). In this way the company could maximize its profits and keep its audiences, and their governments, happy.

In order for Shaw Brothers to reach its cultural ambitions and maximum profits, it needed to stick to a non-political and pro-cultural film formula; it was inspired by China, but did not refer to a specific time or place. Shaw Brothers focused on Chinese popular tradition with martial arts, woman warriors, and the narrative of a suffering hero on his journey to revenge.

Shaw Brothers created a China that audiences everywhere could imagine themselves to be part of. This ‘imagined China’ worked perfectly since different ethnic Chinese audiences around the world “(…) found in Shaw Brothers film a China forever in the midst of all the political turmoil and personal displacements and with which they could continue to identify despite their life in diaspora” (Fu 2008, 14). This ‘imagined China’ full of rage and vengeance by a loyal protagonist against his vicious enemy also hugely appealed to non-Chinese audiences. And so the Shaw Brothers created their own happy end: they turned Chinese cinema into a global popular product across a transnational market and obtained the revenues they hoped for. Shaw Brothers made everybody go ‘kung fu fighting’, creating a unique Chinese cinema.

kill_bill_i-1Scene in Kill Bill by Quentin Tarantino, who was greatly influenced by Shaw Brothers

Although the kung fu film may not represent the totality of Chinese cinema, it did bring a part of Chinese cinema to the global industry and influenced many (western) filmmakers in their work. It undoubtedly also paved a smoother way for other Chinese filmmakers who hit the international cinemas.

The last of the Shaw Brothers has passed away, but he leaves behind a great legacy. Shaw Brothers made history. Not just by giving their Chinese cinema a worldwide stage, but by creating the China-flavored, transnational kung fu film: the Chinese rebel within the international cinema that will live on for many more years to come.

And, for your enjoyment, a scene from One Armed Swordsmen (Du Bi Dao 独臂刀, 1967):

 

A Selection of Shaw Brother Classics:

Big Drunk Hero (Da Zui Xia 大醉俠, 1966)

One-Armed Swordsman (Du Bi Dao 独臂刀, 1967)

The 36th Chamber of Shaolin (Shaolin Sanshiliu Fang 少林三十六房, 1967)

The Chinese Boxer (Long Hu dou 龙虎斗, 1970)

Intimate Confessions of a Chinese Courtisan (Ai Nu 愛奴, 1972)

Five Fingers of Death (Tianxia Diyi Quan 天下第一拳, 1972)

Blood Brothers (Ci Ma 刺马, 1973)

The House of 72 Tenants (Qishier Jia Fangke 七十二家房客, 1973)

Blade Runner (Yinyi Shashou 银翼杀手, 1982)

An Amorous Woman of the Tang Dynasty (Chaochang Haofang Nu 唐朝豪放女, 1984)

References
Berry, Chris. 2004. Postsocialist Cinema in Post-Mao China. The Cultural Revolution After the Cultural Revolution. New York & London: Routledge.
Chung, Stephanie Po-Yin. 2007. “Moguls of the China Cinema. The Story of the Shaw Brothers in Shanghai, Hong Kong and Singapore 1924-2002.” Modern Asia Studies 41(4): 665-682.
Davis, Darrell William. 2011. “Questioning diaspora: mobility, mutation and historiography of the Shaw Brothers film studio.” Chinese Journal of Communication 4(1): 40-59.
Fu, Poshek. 2008. “Introduction,” in China Forever: The Shaw Brothers and Diasporic Cinema, Poshek Fu (ed), 1-27. Illinois: University of Illinois Press.
Klein, Christina. 2007. “Kung Fu Hustle: Transnational Production and the global Chinese-language Film.” Journal of Chinese Cinemas 1(3): 189-208.
Siu, Leung Li.”Embracing Glocalization and Hong Kong-Made Musical Film,” in China Forever: The Shaw Brothers and Diasporic Cinema, Poshek Fu (ed), 74-94. Illinois: University of Illinois Press.
Sundiata, Keita Cha-Jua. “Black Audiences, Blaxploitation and Kung Fu Films, and Challenges to White Celluloid Masculinity”, in China Forever: The Shaw Brothers and Diasporic Cinema, Poshek Fu (ed), 199-221. Illinois: University of Illinois Press.
Xu, Gary G. 2007. Sinascape: Contemporary Chinese Cinema. Plymouth: Rowman&Littlefield.
Top Image: “A scene from director Chang Cheh’s 1971 Shaw Brothers Studio movie, ‘The New One-Armed Swordsman.'” Wall Street Journal, 2014.

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[box type=”bio”] koetse.148x200About the Author: Manya Koetse is the editor-in-chief 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 (China track, Leiden University). Her interest in modern Chinese society and social media have resulted in the launch of What’s on Weibo. Contact: manya@whatsonweibo.com, or follow on Twitter.[/box]

Manya Koetse is the founder and editor-in-chief of whatsonweibo.com. She is a writer, public speaker, and researcher (Sinologist, MPhil) on social trends, digital developments, and new media in an ever-changing China, with a focus on Chinese society, pop culture, and gender issues. She shares her love for hotpot on hotpotambassador.com. Contact at manya@whatsonweibo.com, or follow on Twitter.

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Backgrounder

“Guarding the Green Horse” – How China’s Health Code System Provided Solutions and Generated Problems

The Health Code system and the ‘Green Horse’ meme have become part of everyday life in a zero-Covid China.

Manya Koetse

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Since 2020, China’s Health Code apps have become utterly ingrained in everyday life as a pivotal tool in the country’s ongoing fight against Covid-19. What is the health code system, what are its implications, and why have so many Chinese netizens become obsessed with holding on to their ‘green horse’?

 

This is the “WE…WEI…WHAT?” column by Manya Koetse, forthcoming publication in German by Goethe Institut China, visit Yì Magazin here.

 

There is the Grass Mud Horse,1 the River Crab,2 and now another mythical animal is living in China’s social media jungle: the Green Horse. The Green Horse is a cute bright green horse-like animal, a treasured creature that will protect you during your travels and keep you safe from quarantines and lockdowns at a time of China’s zero-Covid policy. The Green Horse will watch over you, but in return, you have to do everything you can to defend it.

‘Green Horse’ in Chinese is 绿马 lǜmǎ, which sounds exactly the same as the word for ‘green code’ (绿码), referring to the green QR code in China’s Covid health apps, which have become a part of everyday life in China since 2020. In a social media environment where homophones and online puns are popular and ubiquitous, it did not take long for the ‘green code’ to turn into the ‘green horse.’

The Green Horse, image via Weibo.

China’s health code system was designed as a solution to resume work and daily life during the pandemic and is widely praised in the country as a pivotal tool in combating the spread of the virus. But it has also given rise to new problems and has triggered resistance against a new kind of digital governance.

 

A SHORT INTRODUCTION TO CHINA’S HEALTH CODE SYSTEM

 

In February of 2020, when China was in the midst of the fierce battle against the novel coronavirus, the country’s tech giants competed over who would be the first and the most efficient in providing digital solutions to aid the anti-epidemic fight.

Within eight weeks after the start of the initial Wuhan Covid outbreak, Alibaba (on Alipay) and Tencent (on WeChat) developed and introduced the ‘Health Code’ (jiànkāngmǎ 健康码), a system that gives individuals colored QR codes based on their exposure risk to Covid-19 and serves as an electronic ticket to enter and exit public spaces, restaurants, offices buildings, etc., and to travel from one area to another.

Scanning a green code (image via Tech Sina, 2020).

Hangzhou, Alibaba’s hometown, and Shenzhen, Tencent’s home base, were the first cities in China to introduce the Health Code in early February of 2020, and other cities soon followed in collaboration with either Tencent or Alipay. By late February, a nationwide health code system was first embedded in WeChat (Chen et al 2022, 619).

Now, people can receive their Covid-19 QR codes via ‘mini programs’ in Alipay or WeChat, or via other provincial government service apps. Apart from the personal health code apps, there is also the ‘Telecommunications Big Data Travel Card’ (通信大数据行程卡), better known as the ‘green arrow code,’ which tracks users’ travel history and is also available inside WeChat or can be downloaded as a standalone app. Its goal is to track if you’ve been to any medium or high-risk areas over the past 14 days.

The Green Arrow Code is used to track people’s travel history of past 14 days (Image via 人民视觉).

The health code system is not as centralized as you might expect it to be. Instead, it is fragmented and sometimes complicated. There are basically two kinds of Health Codes in China. One is the ‘Health Information Code’ (防疫健康信息码) provided by China’s national government service platform (link) which can also be used by those without mainland ID cards (including people from Hong Kong, Macao, and Taiwan).

The other kind of Health Code, which is the one that is most used across China, is the local version of the health code system provided by each province/municipality. There are at least 31 different regional health code applications, from Beijing’s ‘Health Kit’ (北京健康宝) to Shanghai’s ‘Suishenma’ (随申码), from Jiangsu’s ‘Sukang Code’ (苏康码) to Anhui’s ‘Ankang Code’ (安康码). There are sometimes also separate health code apps being used within one province (e.g. in Shenzhen both the local Shen-i-nin 深i您 app as well as the Yuekang Code 粤康码 are being used).

These local Covid health apps are developed by different provinces and cities, and they are not always compatible with each other. This means that those traveling to different provinces or municipalities need to go through the inconvenient process of applying for different local health code apps depending on where they go. Although one single centralized system has been proposed ever since 2020, the process to unify the system is not easy since the various apps have varying functions and are managed by different local government departments (JKSB 2022; Lai 2022). In early September of 2022, China’s National Health Commission announced that it was working with relevant departments to improve the interoperability and mutual recognition of health apps across the country.

Do you get a Green, Yellow, or Red QR code? That all depends on personal information, self-reported health status, Covid-19 test results, travel history, and more – the health code system operates by accessing numerous databases. The Green color means you’re safe (low-risk) and have free movement, the Yellow code (mid-risk) requires self-isolation and the Red color code is the most feared one: it means you either tested positive or are at high risk of infection. With a red code, you won’t have access to any public places and will have to go into mandatory quarantine. Once the quarantine is finished and you’ve consecutively tested negative, the code will switch back to green again.

Three color codes in the Health Code (image via Tech Sina, 2020).

By the end of 2020, around 900 million Chinese citizens were using Health Code apps and although there are no official records of the latest numbers, virtually anyone visiting or traveling anywhere within China will now use the health code system. Besides keeping records of your latest nucleic acid test results, the Health Code app also includes Covid vaccination records since 2021.

 

LEAVING THE ELDERLY BEHIND

 

Despite the efficiency of China’s health code system, it has not been without controversy. One major issue is that it basically forces Chinese citizens to have a smartphone and to download and properly use these apps. This creates a problem for younger children, those without access to smartphones, or those with lower levels of digital skills, including senior citizens.

Although the use of smartphones, the internet, and QR codes are widespread in China, where mobile payments are far more common than cash, more than 60% of Chinese aged 60 years and over still did not use the internet in June of 2020. In China’s ‘Zero-Covid’ era, it is becoming almost impossible for China’s digital illiterate to live a ‘normal’ life.

Chinese authorities have attempted to simplify things for Chinese seniors by making platforms more user-friendly and introducing alternative ways to enter venues, such as offline codes. But at a time when systems differ per region and some venues do not have the tools to check offline (paper) codes, many elderly still struggle (see Gu & Fan 2022).

“They did nucleic acid testing in my grandma’s community compound today,” one woman from Shanxi writes on Weibo: “There are many elderly people in my grandma’s area, and I saw that so many of them had no smartphones, just senior mobile phones, but now they have to swipe a code to make an appointment for testing. One grandpa asked a staff member what to do without a smartphone, they just said it would be better to bring your son or daughter to do it for you. But all results also are processed digitally, so there’s no way for them to see it, and it’s really not easy for them to go to public places.”

On Chinese social media, there are many stories showing the difficult situations that some senior residents are caught up in because they do not have a smartphone or do not know how to get a Health Code.

In August of 2022, there was one viral story about an elderly man from Shandong walking ten kilometers every day because he could not take the bus without a health app. There was also another story about a visually impaired Hengyang resident who was unable to set up the code and was barred from using public transport. In May, a 70-year-old man got stuck inside the Wuxi train station for three days because he had no smartphone and had to scan a code in order to leave.

In another video that went viral, an old man got on a bus in Shanghai but had a hard time using his mobile phone to do the ‘venue check-in’ (场所码). When the bus driver got impatient, the man eventually got off the bus, saying he felt bad about delaying the other passengers.

“Heartlessness is scarier than the epidemic,” some Weibo commenters wrote in response.

 

RED CODE: CONTROVERSIAL DIGITAL GOVERNANCE

 

Another problem that concerns netizens in this Health Code era is that the code could pose an infringement of privacy and could be abused to limit citizens’ freedom of movement for reasons that are unrelated to Covid-19. There are still unclarities surrounding the app, such as what kind of information is exactly being collected, who is authorized to access the data, and how the data is processed and stored (Zhang 2022, 2).

Some people complain on social media that they do not understand why their Health Code is changing colors: “After I did a Covid test the other day, my Health Code was green. The day after, I woke up to a yellow code and after I had done my nucleic acid test again, it was still yellow. On the third day, it turned green. In the afternoon it turned yellow again. On day four, it was green again. Besides doing tests, I’ve been at home all this time. I’m stupefied.”

One incident where people who came to the city of Zhengzhou to protest suddenly saw their Health Codes turn red sparked major outrage on Chinese social media in June.

Earlier this year, thousands of Chinese depositors struggled to recover their savings in light of a major banking scandal in Henan Province. When dozens of affected depositors traveled to the provincial capital of Zhengzhou in June of 2022 to demand their money back, they suddenly saw their Health Codes turn red. The red code was unexpected and strange, considering that there were no new reported Covid cases in their vicinity. Accompanying family members who made the exact same journey reportedly did not see their Health Codes change, raising suspicions that the duped depositors were specifically targeted and that their Health Codes were being manipulated.

“Who is in charge of changing the Health Code colors?” became a much-asked question on social media platform Weibo, with many blaming local Henan authorities for abusing their power and trying to stop rural protesters from raising their voices in Zhengzhou. Although Henan authorities claimed they did “not understand” what had happened, five local officials were later punished for their involvement in assigning red codes to bank depositors without authorization (Wu 2022).

The incident sparked more discussions on the legal and privacy risks surrounding the health code system. Although many people in China support the use of Health Code apps (also see Chen et al), there is also a fear that a lack of transparency and management could allow the health code system to turn into a surveillance tool used by the wrong people for the wrong reasons.

The influential media commentator Hu Xijin also gave his view on the matter, saying that Health Codes across the country should only be used for “pure epidemic prevention purposes.”

“The fact that Henan can make the health codes turn red of people who come to the city to protest says a lot about the power of the IT,” one Weibo tech blogger wrote. Another Weibo user wrote: “As ordinary people, we have voluntarily given up too much of our personal privacy and rights in order to cooperate with the epidemic prevention. The current abuse and misuse of health codes have caused serious infringement on the legal rights of citizens (..) The state should quickly incorporate health codes into a unified system and place it under strict management, and once the epidemic is over, the health code system should stop running immediately.”

 

A GREEN HORSE FUTURE?

 

But will the Health Code and the ‘Green Horse’ ever disappear from daily life in China? And if so, how would the collected data be handled? Although the pandemic era is not over yet (and the question remains what would qualify as ‘the end’), local Chinese governments and tech firms are already looking to see how the health code system could be implemented and how its uses could be expanded in a post-pandemic future (Chen et al 2022, 619).

Back in 2020, the China Healthcare platform (健康界) already published an article exploring the post-pandemic use of the health code system as a digital health passport and information system that could continue to play a significant role in medical care, social security, public transportation, and tourism.

On social media, some people worry that the health code system – and everything that comes with it – is here to stay indefinitely. One Henan-based blogger wrote: “In the future, I hope my son will visit my grave and tell me, ‘dad, now we no longer need our Health Code, nucleic tests or masks when we go to the malls and take trains or airplanes.'”

“If I would wake up tomorrow in a world without health codes, travel codes, Covid tests, lockdowns, wouldn’t that be great,” another person wrote on Weibo, another netizen adding: “My health code is normal. My nucleic acid test is normal. It’s just my mental state that has become abnormal.”

The fears of receiving a ‘Red Code’ are also palpable. Earlier in summer, videos showed people in Shanghai fleeing out of a local mall once they heard that someone in the building had received notice of an abnormal test result.  The same happened at a local IKEA store. Afraid of Health Codes turning red and getting locked in, people rushed to get out as soon as possible. Some even compared the scenes to a ‘zombie apocalypse.’

People fleeing from a local IKEA store after someone in the building got an abnormal test result.

Although there are serious concerns regarding the health code system, social media users also make light of it through the ‘Green Horse’ meme. The phrase “Bàozhù lǜmǎ” (抱住绿码/马) is often used on Chinese social media, a wordplay meant to mean both “Keep your code green” as well as “Hold on to your Green Horse.”

Selection of ‘Holding on to the Green Horse’ memes.

Following the trend, Wuhan set up a giant green horse at a public square in the city, which soon became a popular place for people to take selfies. The meme is also a profitable one for businesses. On Chinese e-commerce sites, you’ll find there are ‘Green Horse’ keychains, stickers, toys, mooncakes, and coffee mugs.

Green Horse merchandise on Taobao.

As cases of Covid surged again in Chengdu, Shenzhen, and elsewhere in late August and September, worries over ‘keeping the green code’ grew again among those living in affected regions. One local Weibo blogger wrote: “I just couldn’t sleep the past few days, I kept checking my green code and latest Covid test results. It makes me anxious.”

“I feel safest at home,” others write: “This is where I can guard my Green Horse.”

“I hope this epidemic will go away soon,” one netizen wrote: “I hope we can all have our Green Horse and just keep it.”

 

By Manya Koetse
Follow @whatsonweibo

 

1 Grass Mud Horse or Cǎonímǎ (草泥馬) is one of China’s social media ‘mythical creatures’ and an online meme. It is a word play on the vulgar Mandarin term càonǐmā (肏你媽), which literally means “f*** your m*m.”

2 River Crab is another ‘mythical creature’: Héxiè (河蟹) is literally ‘river crab’ but sounds the same as héxié (和谐),”to harmonize,” referring to online censorship.

 

References (other sources linked to inside the text)

Chen, Wenhong. Gejun Hang, and An Hu. 2022. “Red, Yellow, Green, or Golden: The Post-Pandemic Future of China’s Health Code Apps.” Information, Communication & Society 25 (5): 618-633.

China Healthcare 健康界. 2020. “国家卫健委推行”一码通”健康码未来不止于”通行.”” CN Healthcare, 21 December https://www.cn-healthcare.com/article/20201221/content-547951.html [Accessed 22 Aug, 2022].

Gu, Peng and Yiying Fan. 2022. “In ‘Zero-COVID’ China, the Elderly Are Becoming Ever More Marginalized.” Sixth Tone, 9 Aug https://www.sixthtone.com/news/1010908/in-zero-covid-china-the-elderly-are-becoming-ever-more-marginalized [Accessed 22 Aug, 2022].

JKSB 健康时报网 [Health Times]. 2022. “国家健康码和地方健康码区别何在?专家:国家平台更接近理想状态.” JKSB, August 27 http://www.jksb.com.cn/html/redian/2022/0827/177853.html [Accessed 1 Sep, 2022].

Lai, Xianjin. 2022. “Unified Health Code Can Bring More Convenience, Efficiency.” China Daily, April 6 https://global.chinadaily.com.cn/a/202204/06/WS624ccc73a310fd2b29e55269.html [Accessed 31 August].

Liang, Fan. 2020. “COVID-19 and Health code: How Digital Platforms Tackle the Pandemic in China.” Social Media + Society (Jul-Sep): 1-4.

Wu, Peiyue. 2022. “Zhengzhou Officials Punished Over Red Health Code Saga.” Sixth Tone, 23 June https://www.sixthtone.com/news/1010627/zhengzhou-officials-punished-over-red-health-code-saga- [Accessed 22 Aug, 2022].

Zhang, Xiaohan. 2022. “Decoding China’s COVID-19 Health Code Apps: The Legal Challenges.” Healthcare 10 (1479): 1-14.

 

Featured image by Ama for Yi Magazin.

This text was written for Goethe-Institut China under a CC-BY-NC-ND-4.0-DE license (Creative Commons) as part of a monthly column in collaboration with What’s On Weibo.

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Backgrounder

More Than Just a Visit: Explaining the Chinese ‘Cuànfǎng’

‘Cuànfǎng’ became a popular word on Chinese social media and in official Chinese discourse this year. But what is it?

Jin Luo

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Since Pelosi’s stopover in Taiwan, the word ‘cuànfǎng’ has been all over Chinese social media to refer to this controversial visit. But ‘cuànfǎng’ is more than just ‘visiting’ alone. Jin Luo explains.

It was a sleepless night for many Chinese people when U.S. House Speaker Pelosi flew to Taiwan on August 2nd of 2022. A new Chinese word created in recent years, cuànfǎng (窜访) appeared in the official statement that was issued by the Chinese Foreign Ministry at 11 pm that night, and subsequently it appeared all over social media.

Meanwhile, a pop song released more than 30 years ago titled “Tonight, Are You Coming or Not” (“今夜你会不会来”) suddenly became a Weibo hot topic before it was taken offline. What is this word lost in translation, and why did people suddenly get nostalgic over an old romantic song?

 
Cuànfǎng: A ‘Sneaky Visit’
 

Here is the original wording in Chinese and the official translation to English from the statement of the Chinese Foreign Ministry on the evening on 2 August:

In disregard of China’s strong opposition and diplomatic discontent, Speaker of the U.S. House of Representatives Nancy Pelosi visited China’s Taiwan region” (“美国国会众议长佩洛西不顾中方强烈反对和严正交涉,窜访中国台湾地区.”) The word ‘visited’ in Chinese that is used here is “cuànfǎng” 窜访.

While the English verb “visit” is a neutral word by itself, the Chinese “cuànfǎng” 窜访 has much stronger connotations. According to the Wiktionary, the word is a derogatory, officialese way to say “to visit.” But it is not an easy word to translate, as there is no direct equivalent in English, and both the literal and implied meaning of the word need to be understood.

Cuànfǎng is actually a compound word: cuàn 窜 refers to fleeing, escaping, hiding, or running away; fǎng 访 refers to inquiring, seeking, or visiting.

Cuan as a compound character (Sohu).

To make matters more complicated, cuàn by itself is also a compound character. It is written as ‘竄’ in traditional Chinese: the top radical ‘穴’ means ‘hole,’ and the lower part is the character ‘鼠’ which means ‘mouse.’ The character, having the shape of a mouse hiding in a hole, therefore has the meaning of ‘hiding’ and ‘escaping.’

The origins of the character ‘cuan’ explained, image via Sohu.com.

The mouse or rat is an animal that is more often associated with negative things in Chinese culture. They are often considered sneaky, dirty, running around everywhere, and able to reproduce quickly. With mice so often carrying a negative association, cuàn ‘窜’ also refers to a kind of hiding and escaping that is negative or objectionable.

The second character fǎng 访 is a neutral word that simply means “to visit.”

At the New York Times, Chris Buckley captured the underlying meaning of this word in writing: “The Chinese word used in the official statements for ‘visit’ — cuanfang — connotes a sneaky or illicit encounter, not an aboveboard meeting.”

 
The Evolution of Cuànfǎng
 

Although it is a relatively new word, cuànfǎng already existed before the Pelosi incident and was not created in light of this controversial visit.

Since the word’s first appearance, translators have had some difficulties in properly translating the term into different languages.

Research papers in translation studies and international relations in China suggested that cuànfǎng is a “new derogatory term invented in recent years, specifically for the purpose of maintaining national security and unity, and condemning and exposing the national separatists” and “demonstrated the big wisdom of Chinese diplomatic discourse users; vividly described the image of the separatists, that they go on the run sneakily, just like thieves and mice” (source, in Chinese).

Other sources interpret it as “the unjust, improper visit conducted in order to reach hidden political agenda, to agitate and peddle the separatist ideas,” and:

1. You went somewhere where you were not supposed to go;
2. The visit was not accepted or welcomed by the (Chinese) government;
3. The purpose is to shake justice and create conflicts
” (source, in Chinese).

Cuàn was mainly meant to add an emotional aspect to the term and shows the contempt of the person who uses it.

Image via Wainao.

The word was first prominently used in Chinese official discourse when the Foreign Ministry in 2006 referred to the Dalai Lama’s visit to Israel. Since cuàn has the meaning of fleeing, it is especially suitable when referring to political dissidents who went into exile overseas.

Since then, it has been used again for further visits of the Dalai Lama to other countries (US 2014, Mongolia 2017), as well as for Rebiya Kadeer, Lee Teng-hui, Shinzo Abe, Joshua Wong, and others.

Although it is clear that the term is not only applied to Chinese dissidents, it is generally applied to those who conducted visits that were perceived to be hostile towards China, with Nancy Pelosi’s Taiwan visit serving as a clear example.

Since the Dalai Lama has been living outside of China and conducted numerous visits to other countries, cuànfǎng was previously mostly used in this context until Pelosi’s visit, which ended up being good for more than 80% of the search results of cuànfǎng on the Chinese Foreign Ministry website.

If cuànfǎng is a word with such strong emotional connotations, why was it simply translated as “visit” in official English-language documents? Some say it is because of the mere difficulty to translate this word, while others say it is the routine sanitization of English translations by the Foreign Ministry.

David Gitter, president of the Center for Advanced China Research based in Washington D.C., said that the external goal of Beijing can be different from the internal goal towards the nationalist domestic audiences, and that “more accurate yet counterproductive translations … [often] breach normal diplomatic language.”

At this point, it remains up for debate whether this is a linguistic constraint or a political choice.

 
Tonight, Are You Coming or Not?
 

While the term cuànfǎng has been widely used in official discourse, it has also become a popular online word. Chinese netizens seemed to be as passionate as the Chinese Foreign Ministry – and perhaps even more so –  in condemning Pelosi’s Taiwan visit and demanding radical countermeasures.

Chinese netizens were watching the entire event unfold with mixed feelings – on the one hand, there was a strong sense of patriotism and anger, on the other hand, the massive attention to the event also turned it into something that was almost as exciting as a celebrity drama.

On that specific evening of Pelosi’s nearing arrival in Taipei, Chinese netizens were doing two things: watching real-time tracking of Pelosi’s flight, and listening to a classic pop song released in 1991 titled “Tonight, Are You Coming or Not” (今夜你会不会来) (video). Back in the previous century, Hong Kong singer Leon Lai expressed the emotions of someone waiting for his lover to arrive in this melodic song, singing:

“你是否愿意为我停留

Would you be willing to stay for me

今夜你来告诉我

Tonight, you tell me

你是否愿意陪我走过我的梦

Are you willing to accompany me through my dream?

我的所有

My everything

(Chorus)

今夜你会不会来

Tonight, are you coming or not?

你的爱还在不在

Is your love still there or not?

如果你的心已经离开

If your heart has left already

我宁愿没有未来

I would rather not have a future

今夜你会不会来

Tonight, are you coming or not?

你的爱还在不在

Is your love still there or not?

别让我所有的等待

Don’t let all my wait

变成一片空白

Go all in vain

 

In the middle of the uncertainty about whether Pelosi would come to Taiwan or not, this song served as entertainment for netizens and became a “collective carnival” of people jokingly applying the song to Pelosi, turning her into a ‘mysterious lover’ that might or might not show up. (Later, some were unable to play the song anymore, although it remains unclear if this was due to geographic restrictions or because the song was actually taken offline by censors.)

“Taiwan has been preparing for your cuànfǎng ‘sneaky visit’, are you coming or not tonight?” some netizens wrote, combining the title song with the cuànfǎng term. In doing so, Pelosi became both a ‘sneaky mouse’ and ‘mysterious lover’, both a target of condemnation and subject of fun and banter.

All jokes and cuànfǎng references aside, Pelosi did end up realizing that visit, and its aftermath, including a second Taiwan visit by a U.S. congressional delegation, has had a substantial impact on U.S.-China relations that were already strained before the move.

Will there be more cuànfǎng to Taiwan? It’s likely not an issue of if, but when. For next time, at least we’ve got cuànfǎng covered.

 

By Jin Luo 

Featured image by Alexa from Pixabay

 

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