Connect with us

Backgrounder

How the One-Child Policy Has Improved Women’s Status in China

An article on Chinese social media argues that the One Child Policy has greatly benefited the status of Chinese women, and that the shift to a so-called Two Child Policy is actually a setback for women’s rights in China. What’s on Weibo explains.

Published

on

Female empowerment is perhaps not the first thing that springs to mind when discussing China’s One-Child Policy (1979-2016), which is mainly known for creating hardships for Chinese women. But a recent Feminist Webforum’s article on Chinese social media argues that the One-Child Policy has greatly benefited the status of women in Chinese society, and that the shift to a so-called Two Child Policy is a setback for women’s rights in China. What’s on Weibo explains.

When the Chinese government announced that it would be ending its One-Child Policy in the summer of 2015, 36 years after it was first implemented, the topic exploded on Weibo. Many netizens applauded the news and considered it a step forward in people’s personal freedom and individual rights.

The Two-Child Policy (二孩政策) allows all couples to have a maximum of two children. But now, over a year after it has gone into effect, there are also voices saying that the new family planning policy is actually a setback for women’s rights in China and that the One-Child Policy, as controversial as it might have been, has greatly improved the role of women in society in multiple ways.

 

THE TWO CHILD POLICY: A YEAR LATER

“The vigorous propagation for women to return home to have children goes against the image of the emancipated Chinese woman.”

 

One of the consequences of China’s One-Child Policy, designed to curb the growth of China’s population, is that Chinese society is now ageing. The latest population statistics after the introduction of the ‘Two-Child Policy’ show that 17,86 million children were born in 2016; an increase of 7.9% compared to the year before (when the One-Child Policy was still in place).

But the current population growth might not be enough to combat demographic challenges in the decades to come. Chinese state media are now encouraging couples to have more children, something that became particularly clear during this year’s CCTV Gala and a recent lengthy People’s Daily article that hinted at the legalization of surrogacy to increase the country’s birth rates.

It led to angry reactions on Chinese social media, where many women felt that they were being degraded to “breeding machines”, and that the “vigorous propagation” for women to “return home to have children” goes against the image of the emancipated Chinese woman.

 

ONE-CHILD POLICY: THE SIGNIFICANCE FOR WOMEN

“Slogans propagated that daughters could also carry the honor of the family line, and that girls and boys were equally important for the future of China.”

 

The Feminist Webforum (@女权主义贴吧) recently posted an article (link in Chinese) on Weibo titled “The One-Child Policy’s Three Major Contributions to Chinese Women’s Status,” in which it argued that the China’s One Child Policy (1979-2016) has significantly emancipated Chinese women.

The article looks back at different government’s slogans that were widely propagated during the One-Child Policy, and explains how and why they contributed to a bettered women’s status in China.

It also indicates that the recent developments around the Two Child Policy, with increasing media emphasis on reproduction, is negatively affecting the status of women in Chinese society.

1. Male-Female Equality: Women Can Also Carry on the Family Line (生男生女都一样,女儿也是传后人)

The slogans “It is all the same whether you give birth to a boy or give birth to a girl” (生男生女都一样) and “Daughters also carry on the family line” (女儿也是传后人) were propagated throughout China since the 1980s up to the most remote parts of rural China.

In the patriarchal Chinese society, there is a deep-rooted preference for sons. Boys are expected to carry on the family line, become the laborers, and support the older generations (Sudbeck 2012, 44).

With the implementation of the One-Child Policy, the government strongly pushed the idea of male-female equality. Slogans propagated that daughters could also carry the honor of the family line, and that girls and boys were equally important for the future of China.

Slogan: “Girls and boys are all the hope of the nation.”

The Female Webforum article argues that this widely propagated government stance improved the status of women, as daughters came to play a more important role in the family and received more attention and a better education.

This is also reiterated by Kristine Sudbeck in the article “The Effects of China’s One-Child Policy: The Significance for Chinese Women” (2012), in which she writes that China’s One-Child Policy has indirectly benefited the role of women in society because, among others, singleton daughters received greater parental investment in terms of wealth, pride, and education (43-44).

The improved education levels for women also opened the doors to more non-traditional jobs for women, with which came a greater gender equality – not just within the family, but within the society at large.

In 2014, 64% of Chinese women were in the labor force, and the percentage of women in management positions in China is much higher than that of neighbouring countries like South Korea, Japan, India, or Taiwan (Catalyst 2016, CS 2014: 8).

But the Feminist Webforum writes that since the introduction of the Two-Child Policy, the calls for extended maternity leaves and for women to return home to be a good mother are growing louder every day, potentially harming the (economic) position of women in China in the long run.

2. Promotion of Later Marriage and Later Childbirth (男女晚婚,女方晚育)

Another propagated principle during the One-Child Policy was that of later marriage and later childbirth.

Poster propagating later marriage and later childbirth.

Although the legal age of marrying in China is 20 for women and 22 for men, late marriage (23+ for women and 25+ for men) have been specifically encouraged by Chinese authorities to benefit the state, the family, and the individual.

The propagation of late marriage and childbirth meant that women could first concentrate on their studies and career before taking on the role as wife or mother.

Since January 2016, it seems that getting married later on is no longer encouraged. At the same time the Two-Child Policy was implemented, the Chinese government canceled the ‘late wedding leave’: a 30-day paid work leave to encourage getting married after the age of 25.

The Feminist Webforum article writes that Chinese media have started to encourage women to have children while still attending college, as in this widely published article (link in Chinese) titled: “University students have children while still in school: third-year students already have 2 children, majority does not regret.”

Photo of one of the college students who had her baby early on in her studies, photo by Paper.cn.

Articles such as these falsely suggest that it might be easier to find a job when women are already married with children. But according to the Feminist Webforum, the employment rate of women without children is actually much higher than of those who have had a baby.

Getting married and having a baby after the age of 25, the article argues, is better for a woman’s mental and physical health, as well as for her future education and career. Encouraging women to start having children early on might negatively influence her future and her independence – a setback for female emancipation.

3. Promotion of Excellent Birth & Childrearing (优生优育)

A third and final point mentioned in the article is that under the One-Child Policy the slogan “Superior Birth, Superior Childrearing” (优生优育) was propagated, in which there was an emphasis on conceiving and raising a ‘quality child.’

Government public advertising, saying “excellent childbirth, excellent childrearing, a happy life.”

The article points out that with a general heightened focus on prenatal and postnatal care, thousands of women were saved from maternal death.

Before the One-Child Policy and in its early years, there was a great lack of prenatal care, and many women only relied on midwives while giving birth – if they could afford one at all. The rate of in-hospital delivery increased from 43.7% of women in 1985 up to an in-hospital delivery for rural women of 96.7% in 2011.

The Feminist Webforum points out that in the first half year since the implementation of the Two-Child Policy, there was a staggering 30% increase in maternal mortality. This increase relates to a larger proportion of elder pregnant women, causing more health problems during pregnancy and childbirth. It also has to do with health care resources being unable to deal with the rise in births, and, according to the article, is another reason why the Two Child Policy is not improving the situation of women in China.

 

A ROSE-COLORED PICTURE?

“Although China’s One-Child Policy is known for creating hardships, it has helped to greatly improve the position of women in China.”

 

Is the Feminist Webforum right? Was the One-Child Policy really so beneficial for women? Although China’s One-Child Policy is mainly known for creating hardships for women, studies have shown that it has indeed helped to greatly improve the position of women in China in terms of gender equality, parental investment, educational attainment, career, and in terms of their familial, societal and political participation (Sudbeck 2012, 55).

Although providing very valid points, the Feminist Webforum’s article is making the decades of the One-Child Policy appear somewhat more rose-colored than they were. For example; even if the rate of prenatal complications and maternal deaths greatly improved after the implementation of the One-Child Policy (and have worsened after ending it in 2016), the article does not mention that women with unapproved pregnancies received less prenatal care and had a much higher risk (2.5 x) of maternal death than with an approved pregnancy (Nayak 2008, 14).

It also does not mention female infanticide or the large number of female-selective abortions. In the 1980-2000 period alone, it is estimated that the total number of female selective abortions was around 4 million (Sudbeck 2012, 47). Nor does it mention the abandonment of children, who were mostly girls. Around the turn of the century, China had around one million almost exclusively female orphans.

The One-Child Policy also had other far-reaching consequences. Some couples moved away from mainland China to have more freedom in their reproductive rights, while others paid for expensive fertility drugs (under the policy, having twins or triplets would still count as ‘one’ legal birth).

When placed into a larger perspective, it is apparent that Chinese women have indeed made advantages towards more gender equality within China as a by-product of the One-Child Policy, but that this advancement has come at a high price.

 

WEIBO RESPONDS

“Our reproduction rights are taken from us, step by step.”

 

On Weibo, the Feminist Webforum’s article received over 50,000 views and many comments shortly after it was posted. Many commenters seemed to share similar concerns as the Feminist Webforum, and praised the One Child Policy era while expressing their concerns over the Two Child Policy.

“The Two-Child Policy is the worst news I have heard in years,” one person writes.

“Now they enthusiastically promote for us to return home and have a second baby. Will they promote us to obey our fathers, husbands and sons, and to bind our feet hereafter?”, one commenter writes.

Another female netizen says: “Since the introduction of the ‘two child policy’, male-female relations have been more out of tune, the mortality rate of pregnant women has gone up, and the discrimination on the employment market has increased dramatically. Our reproduction rights are taken from us, step by step.”

Someone else writes: “The family planning policy was not bad, it had so many benefits (..). It was not only in line with the state of society, it also gave women the right to stop giving birth [to multiple children] and to give birth safely.”

But not all netizens agree that the role of women in Chinese society today is all owed to the One-Child Policy.

“It needs to be said that there are many ways to improve women’s status,” one person writes: “and the One-Child Policy is the most inhumane one, which has caused a lot of damage to women’s health. It was never intended to improve the status of women, and is just a by-product.”

Another woman writes: “All I can think of is that one colleague of my mum who was caught with a second (unapproved) pregnancy when she had a big belly of 7-8 months. She was forced to have an abortion.”

Many netizens refer to themselves as ‘the last generation of singleton daughters.’ They suggest that with China’s new family planning policies, there will always be couples having just one son, but if they have one daughter they will try hard to have a second child that is male: “This was the last era of the only daughters – every era is that of the only sons.”

– By Manya Koetse
Follow on Twitter or Like on Facebook

What’s on Weibo is an independent blog. Want to donate? You can do so here.

References

Catalyst. 2016. “Women In The Workforce: China.” Catalyst, July 8 http://www.catalyst.org/knowledge/women-workforce-china [5.2.17].

Credit Suisse. 2014. “Women in Senior Management.” Credit Suisse, September https://publications.credit-suisse.com/tasks/render/file/index.cfm?fileid=8128F3C0-99BC-22E6-838E2A5B1E4366DF [5.2.17].

Feminist WebForum [女权主义贴吧]. 2017. “独生子女政策对中国女性地位的三大贡献 [The One-Child Policy’s Three Major Contributions to Chinese Women’s Status].” Feminist Webforum / Weibo, February 4 http://www.weibo.com/ttarticle/p/show?id=2309404071219883321876#_rnd1486322999846 [5.2.17].

Nayak, Satyam. 2008. “An Overview of China’s One Child Policy and Health Consequences on Society.” Master of Public Health, The University of Texas School of Public Health.

Sudbeck, Kristine. 2012. “The Effects of China’s One-Child Policy: The Significance for Chinese Women.” Nebraska Anthropologist: Paper 179.

Featured image: part of a slogan on a wall saying “love daughters.”.

©2017 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com

image_print

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.

Advertisement
6 Comments

6 Comments

  1. Matteo

    February 8, 2017 at 11:47 pm

    Probably they could achieve the same result following the path made by other countries, instead of torturing people for decades.

    • fgt

      February 17, 2017 at 10:49 am

      Like India? Who’s still struggling to implement a three-child policy and suffers from chronic local famines to this day?

      The common misconception is to attempt to compare China with Japan, South Korea and Taiwan and similiar high-income and fully developed countries. All these countries achieved their growth with as little population pressure as China or India is currently attempting. And, yes, they made it. At Easy Mode. Congratulations to them.

      For extremely populated countries like China or India, any economic growth divident will be immediately swallowed up by the masses of poor population who are multiplying exponentially due to natural reasons, such as hardships and insecure resource supplies. Ever wondered why poor people in less developed countries happen to have 20+ children? Because it’s a natural thing to do, if you cant ensure the survival of every child: Humans and animal alike will automatically give birth to as many as they can, so that at least some children will survive to carry on the genetic line. Sounds pretty inhumane and cruel, but that’s nature for you. And as such, extremely populated countries who do not act, happen to be sentenced to eternal poverty.

      China did the right thing: They have curtailed their population growth by brute force, so that the little economic gains at the start of the reform and opening phase wouldnt be swallowed up by the population pressure.

      Look at India for what China would be today, if they didnt torture their people for a greater good.

  2. Shiner

    February 13, 2017 at 8:55 pm

    Not wanting to refute your conclusions, but “one of the highest rate of women in management positions” is incorrect.
    The shown table is in alphabetic order. This should have been picked up easily.
    Also, it might have been more clear in the most recent CS Gender 3000 report of last year, where China has been trailing behind and has actually dropped on the list in the last between 2010 and 2015.
    See also page 8 on
    http://publications.credit-suisse.com/tasks/render/file/index.cfm?fileid=5A7755E1-EFDD-1973-A0B5C54AFF3FB0AE

    • admin

      February 14, 2017 at 12:11 am

      Thank you for the heads up, you are of course completely right – don’t know how I could’ve missed that. It is now adjusted in the article. Appreciate the input. Best, Manya

  3. Jim Harkness

    May 5, 2017 at 12:57 am

    Interesting to see what people are saying about this issue, but most of the woman-benefiting measures mentioned could have happened without the One Child Policy, (and in fact preceded it) and it’s hard not to notice the 50 million missing women and girls that resulted from the Policy. Of course, context is everything. If the Policy had not coincided with the Household Production Responsibility System being instituted in agriculture, many of the negative impacts would have been considerably smaller.

Leave a Reply

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

Backgrounder

The Chinese Animation Dream: Making Made-in-China ‘Donghua’ Great Again

The Chinese animation industry is a much-discussed topic in the media and on Weibo. Will China’s ‘donghua’ make a comeback?

Published

on

First published

The Chinese animation industry is a hot topic these days. With China’s rising power and growing influence on global markets, its animation industry is lagging behind and still seems to have limited appeal for audiences inside and outside of mainland China. But there might be big changes on the horizon for the industry. Will the golden days of Chinese animation return? A short overview of the development of the Chinese animation market by What’s on Weibo.

The Chinese animated movie White Snake (白蛇:缘起), produced by Light Chaser Animation and Warner Bros, has been under the spotlight since its release on January 11. The fantasy animation, that has raked in 300 million yuan (±$44 million) at the box office, has triggered discussions in the media on the status quo and future of China’s animation industry.

Although China is seeing a steady release of domestic animated films and series, there is still much room for improvement. Not only are many ‘donghua’ (动画) still lacking when it comes to quality and script, but the Chinese animation market is also facing fierce competition from the American and Japanese markets.

 

‘JAPANESE CULTURAL INVASION’

“Making China’s own animated heroes become examples for the Chinese youth”

 

A recent Foreign Policy article by Tanner Greer discusses the great popularity of Japanese manga (comics) and anime (cartoons) in the People’s Republic of China. The influence of Japanese popular culture in China is not necessarily appreciated by the Chinese government, which is concerned with maintaining a certain control over matters of cultural dissemination.

Since Japanese comics and films began to gain popularity in China in the early 1990s, there have been various developments that have shown the government’s dislike of the ‘Japanese cultural invasion’ in the country. To counter the impact of foreign animation/cartoon products, the authorities not only attempted to curb the inflow of these products but also to promote the production of its own China-made animations, that should reflect the ideals of the Party.

As early as 1995, President Jiang Zemin wrote a letter to the Shanghai Animation Film Studio (上海美术电影制片厂), writing that “inspiring people through excellent work is an important task of the cultural front,”1 and expressing his wishes that, “under the guidance of the Party’s literary and artistic principles, animation art workers will continue to release ideological, artistic and enjoyable art products, providing more and better spiritual sustenance for the youth and for children, making China’s own animated heroes become friends and examples for the [Chinese] youth” (1995; Saito 2017, 141).

Twenty-four year later, China’s animation industry has seen enormous growth but is still not as well-received by the Chinese public as Jiang had probably hoped for. Meanwhile, the demand for Japanese and other foreign products is still going strong: the animated movies that are in the top 3 of highest box office successes in mainland China are all foreign productions.

The 2018 Chinese animation The King of Football (足球王者) took approximately 60 million yuan ($8.8 million) to make, but became a commercial flop, raking in less than 1.8 million yuan ($267,000) at the box office (Yau 2018).

The King of Football turned out to be a flop at the box offices (image via PTT新聞).

The new animation White Snake is doing much better than the 2018 Football flop, and has made some Chinese state media note that the overall quality of domestically produced animation is steadily getting better, especially over the past few years. Yet, critics also note that despite several successes since 2015, the Chinese animation has yet to come out of its “low point” (China Daily Culture 2019).

 

GOLDEN AGE OF CHINESE ANIMATION

“Chinese films should be based on real Chinese traditions and stories”

 

If the current era marks a certain ‘low point’ in Chinese animation, then when was its ‘high’ performing time? The first so-called “golden age” of Chinese animation actually occurred in the 1957-1965 era. Long before that, in the 1920s, China’s renowned Wan brothers produced their first animated short, inspired by the success of Disney and the Fleischer brothers (Chen 2017, 175; Lent & Ying 2013, 20-22). It led to the production of China’s first fully-animated film Blood Money (血钱) in 1932.

The Nanjing-born Wan brothers (萬氏兄弟) are the twins Wan Laiming and Guchan (1900), Wan Chaochen (1906), and Wan Dihuan (1907), who are generally credited with starting Chinese animation. The first three names are the brothers who later joined the renowned Shanghai Animation Film Studio that was led by cartoonist Te Wei (特伟, 1915).

Te Wei is one of the major names in the Chinese School of Animation; he previously headed the Northeast Film Studio, that was founded in 1949.

Three Wan brothers, with in the middle Wan Laiming, on the right Guchan, and Chaochen on the left (image via vmovier.com).

Although the Wan brothers were initially inspired by American animation, along with German and Russian styles, they soon focused on finding a more Chinese-oriented style in their work. In a 1936 interview, the brothers stated that Chinese films should be based on “real Chinese traditions and stories,” and should also be “educational” besides entertaining (Lent & Ying 2013, 22-23). Focusing more on Chinese artistic traditions was also something that was encouraged by Te Wei.

The Shanghai Animation Film studio started doing just that, and creators began committing themselves to learn from classical Chinese literature, paintings, and art, to build on truly Chinese animation canon that would incorporate a certain ‘national identity.’ For their 1956 24-minute animation The Conceited General (骄傲的将军), they even invited opera teachers to their work studio to learn from their Peking Opera movements and apply it to their animated characters (Chen 2017, 185; Lent & Ying 2013, 25-26).

From the ‘Conceited General.’

The first color animation Why Crows Are Black (乌鸦为什么是黑的, 1956) became the first Chinese animation to be recognized internationally at the 1956 Venice Film Festival. The 1960 success of Where is Momma (小蝌蚪找妈妈) was followed by others, with the 1961/1964 Havoc in Heaven (大闹天宫) winning multiple awards, becoming one of China’s most-praised animation classics.

During the political turmoil of the Cultural Revolution (1966-1976), China’s animation industry suffered a huge blow and its first boom was halted. Starting from 1977 to the mid-1980s, a “second wave” of success followed, with new films that also carried that distinct style of Chinese animation; works such as the 1980s Three Monks (三个和尚) and the 1988 Feeling from Mountain and Water (山水情) are some example success stories within this second ‘golden age’ (Chen 2017).

In a 2001 interview, Te Wei stated that there were multiple factors at play that contributed to the success of Chinese animation over the 1960-1980 period. The animation creators at the time, for example, were not pressured for deadlines and had unlimited creative time. There were enough financial resources to fund the studio (state support), little government control, a prosperous production system, and there were multiple generations of animators working together at the studio (Lent & Ying 2013, 27).

 

LOSING THE MAGIC TOUCH

“You can see Disney in it. But at least they tried”

 

So what happened to the golden days of Chinese animation? After the Mao era, in 1978, Deng Xiaoping famously initiated China’s Reform and Opening, starting the process which transformed the country and also had drastic consequences for China’s creative industries.

Following the emergence of the market economy, creators of Chinese animation had to focus more on the commercial value of their works. But while concentrating on consumer-based commerce, they also still had to make sure their productions were politically correct and in line with the (censorship) guidelines.

Starting from the 1990s, Chinese animation was officially defined as an “industry” and became a focus in the development of the national economy, with the government paying close attention (Chen 2017, 158; Wu 2017).

As described by John Lent and Xu Ying, animation studios started to struggle to support themselves and sped up productions to satisfy the rising domestic TV market, while also becoming “workstations” for overseas clients (2013, 27).

Japanese animations, such as Astro Boy, started getting more and more popular in mainland China since the early 1990s. (Image via Variety).

Although the number of productions went up, the high production pressure affected creativity and the artistic quality of Chinese animation.

Meanwhile, the market came to be dominated by imported, sometimes pirated, foreign animations. Astro Boy, Doraemon, Chibi Maruko-chan and other Japanese popular culture became more influential among Chinese youth in the 1990s. This also changed viewers’ preferences and aesthetic standards, and many Chinese animations adopted more Japanese or American styles in their creations (Ho 2018, 167; Liu 2007, 29).

With the rise of the internet in China, the inflow of (pirated) animations and cartoons from outside of China, and their major impact, began to become much harder to combat.

Some films, such as the 1999 Lotus Lantern (宝莲灯) by Shanghai Animation Film Studio still succeeded in becoming a high-quality commercial success, although Chinese cartoonist Te Wei did note: “You can see Disney in it. But at least they tried” (Lent & Ying 2017).

 

THE RISE OF CHINA’S ANIMATION?

“Chinese animations keep on getting better and better, and it makes me feel proud”

 

For the past few years, especially since the propagated concept of the ‘Chinese Dream’ has popularized within Chinese society, an idea that focuses on ‘national rejuvenation,’ the ‘comeback’ of Chinese animation has become a much-discussed topic in state media and on social media.

The main idea disseminated by state media and government, is that Chinese donghua (动画, animation) should be developed with specific Chinese characteristics, should not blindly follow its (foreign) competitors, and should propagate Chinese culture and socialist values. The slogan “Revive the Country’s Creativity” (振兴国创) is repeated in dozens of these articles.

Some media claim that Chinese animation is no longer at its low point now, but has reached a stage of “adolescence” (Xinhua 2019). This resonates with earlier government articles proposing that China should become “an internationally strong animation country” by 2023 (GWP 2008).

There are many ways in which a ‘healthy development’ of China’s animation market is now promoted. Since 2010, animation companies in China enjoy certain tax benefits, there have been national award for the best animations since 2011, and since long there have been measures stipulating that a certain percentage of broadcasted animations must be China-made (Saito 2017).

A noteworthy animation that was released in 2018 is The Leader (领风者), a web series that focuses on the live and work of Karl Marx, commemorating the 200th anniversary of Marx’s birth.

The idea that was promoted with the release of The Leader was that promoting Chinese ‘mainstream values’ could also have a broad audience appeal, “as it can also be thrilling and attractive” (Global Times 2018).

The ‘rejuvenation’ of Chinese animation is not just a cultural and ideological project, there are economic motives at stake too; China’s animation industry is a multi-billion dollar industry.

Some media predict that 2019 might be a pivotal year for China’s animation. The successes of the 2015 Monkey King: Hero is Back (西游记之大圣归来), the 2016 Big Fish and Begonia (大鱼海棠) and the current White Snake film, might been strong indications that Chinese audiences are ready for more high-quality domestically produced animations that are based on classic literary works or historical themes, and incorporate Chinese traditional culture or socialist values.

The Legend of Nezha (哪吒之魔童降世), Jiang Ziya (姜子牙), and Phoenix (凤凰) are some of the much anticipated made-in-China animated movies to come out this year.

On Weibo, Chinese animations are a daily hot topic, and so is their overall development. The phrase “I support made-in-China animations” frequently pops up, but so do the questions (“when will our animations rise?”) and the criticism.

“They are in the stage of imitating and exaggerating to keep up with international standards,” some say: “But their scripts are still unclear and somewhat embarrassing.”

“The dialogues are still their main problem,” others say. Many people on social media express this idea of ‘China-made animations’ being of a certain low quality, although there are also many who say their views have changed after seeing White Snake in the cinema.

White Snake movie poster

Some commenters write that “Chinese animations keep on getting better and better, and it makes me feel proud.” This idea of a strong Chinese animation market also triggers patriotic reactions elsewhere on Weibo.

Many netizens, however, still allege that the animations made during the “golden years” of China’s 1960s to 1980s were simply the best. “In those years, the animations they produced were just all classics. Nowadays, I can’t even bear to watch anymore.”

Others agree, writing: “They were just so Chinese.”

By Manya Koetse

 

References:

CGW Central Government Web Portal. 2008. “文化部发布关于扶持我国动漫产业发展的若干意见.” Gov.cn http://www.gov.cn/gzdt/2008-08/19/content_1075077.htm [2.10.19].

Chen, Shaoping. 2017. “Industrial transformation in Chinese animation cinema (1995–2015).” New Cinemas: Journal of Contemporary Film 15(2): 157-174.

Chen, Yuanyuan. 2017. “Old or New Art> Rethinking Classical Animation.” Journal of Chinese Cinemas 11 (2): 175-188.

China Culture Daily 中国文化报. 2019. “[国产动画2018:正在蓬勃生长 期待“冲破天际”]. People’s Daily, January 8. http://ent.people.com.cn/n1/2019/0108/c1012-30509797.html [1.26.19].

Jiang Zemin. 1995. “为少儿提供更多更好的精神食粮 [Providing the youth with more and better spiritual sustenance].” 中国共产党新闻 [News of the Communist Party of China], August 28. http://dangshi.people.com.cn/GB/242358/242773/242777/17735177.html [Jan 25 2019].

Global Times. 2018. “Nation to release first animation on Karl Marx.” Global Times 19 Dec http://www.globaltimes.cn/content/1132690.shtml [10.2.19].

Greer, Tanner. 2019. “Super Patriotic Anime Youth Wars!” Foreign Policy, January 23. https://foreignpolicy.com/2019/01/23/super-patriotic-anime-youth-wars-china-japan-pop-culture/ [Jan 25 2019].

Ho, Wai-Chung. 2018. Culture, Music Education, and the Chinese Dream in Mainland China. Singapore: Springer.

Lent, John A. and Xu Ying. 2013. “Chinese Animation: An historical and contemporary analysis.” Journal of Asian Pacific Communication 23(1): 19-40.

– 2017. Comics Art in China. Jackson: University Press of Mississippi.

Liu, Qing Fang. 2007. “When Chinese Animations meet GLobalization.” Master Thesis, Cultural Economics and Cultural Entrepreneurship, Erasmus University Rotterdam.

Saito, Asako P. 2017. “Moe and Internet Memes: The Resistance and Accommodation of Japanese Popular Culture in China.” Cultural Studies Review 23(1), 136-150.

Yau, Elaine. 2018. “Why Chinese animated films do so badly in China compared to Western ones.” South China Morning Post, October 17. https://www.scmp.com/culture/film-tv/article/2168973/why-chinese-animated-films-do-so-badly-china-compared-western-ones

Wu, Weihua. 2017. Chinese Animation, Creative Industries, and Digital Culture. London: Routledge.

Xinhua. 2019. “不再低幼 国漫进入“青春期”.” Xinhua Feb 3rd http://www.xinhuanet.com/ent/2019-02/03/c_1124081879.htm [10.2.19].

1“用优秀的作品鼓舞人,是文化战线的重要任务”
*” 当年的动画片和电影几乎部部经典!现在的基本上都不能看了。。”
*”那时候的动画片都很中国”

Other relevant links:
http://www.p5w.net/news/cjxw/201812/t20181219_2237399.htm
http://www.xinhuanet.com/politics/2019-01/03/c_1123941747.htm
http://www.xinhuanet.com/ent/2019-02/03/c_1124081879.htm
http://www.chinanews.com/cul/2018/05-12/8512351.shtml
http://media.people.com.cn/n1/2019/0125/c40606-30590294.html
Spotted a mistake, typo, or want to add something? Please let us know through email.

©2019 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com

image_print
Continue Reading

Backgrounder

This Was Trending in China in 2018: The 18 Biggest Weibo Hashtags of the Year

Published

on

First published

It’s been an eventful 2018 on Chinese social media. What’s on Weibo lists the 18 topics that have generated the most views and discussions on Chinese social media platform Sina Weibo over the past year.

What’s trending in Western media when it comes to China is not necessarily what is trending on Chinese social media, too. While topics such as the Xinjiang ‘re-education centers’, China’s nascent Social Credit System, #MeToo in China, or the allegedly “banned” Winnie the Pooh movie were some of the biggest China-related topics on social media sites such as Twitter and Facebook this year, Chinese internet users were discussing other things – some issues trending in the Western media were not as big within the PRC due to censorship, but some also simply weren’t as big because of a seeming lack of public interest.

What’s on Weibo has selected the 18 biggest hashtags that were trending on Weibo in 2018, mostly based on their total views, but also based on the impact they had on the meme machine, and the overall discussions that flooded Wechat.

This list has been fully compiled by What’s on Weibo.1 Please note that we have left some topics and hashtags out. One such example is the World Cup. While the World Cup hashtag (#世界杯#) has received a staggering 31 billion views on Weibo alone, this is a more general hashtag that has also been used before 2018; we have attempted to make a selection of topics that were the biggest of this year and 2018 alone.

Due to the scope of this article, some major topics such as the arrest of Richard Liu, the Changchun vaccine scandal, or the online success of the two vlogging farmers and their bamboo rats, did not make the cut, simply because other hashtags garnered more views.

Here we go –

 

#1 The Didi Murders

Hashtag “Female Passenger Murdered by Didi Driver” (#女孩乘滴滴顺风车遇害#) – 2,45 billion views on Weibo. Hashtag “Stewardess Killed in Didi Ride” #空姐滴滴打车遇害案# – 55 million views.

See article here

This year Didi Chuxing, China’s most popular car-hailing app, faced huge public backlash on Weibo, where netizens threatened to boycott the company amid safety concerns. Over the past years, Didi has seen dozens of cases where female passengers were assaulted by their drivers. The terrible murders of two young women in 2018 sparked national outrage.

In May of this year, the murder of a 21-year-old flight attendant by her Didi driver became a major topic of discussion on Weibo. The young woman, Li Mingzhu, was killed in the early morning when she was on her way home from Zhengzhou airport. The body of the driver who killed Li was later found in a nearby river. In August, the 20-year-old passenger Xiao Zhao was raped and stabbed to death by her Didi driver on her way to a birthday party on a Friday afternoon. Hours later, the driver was arrested.

What contributed to the major impact this topic had on social media was the fact that several people came forward on WeChat and Weibo to tell how Didi was warned beforehand: Xiao’s friend immediately contacted Didi after her friend had called out for help during that fatal ride, but she was told to wait and no immediate action was taken. Another female claimed she had already reported the driver to Didi for indecent behavior earlier that week.

In a rapidly changing society where companies such as Didi play an increasingly important role in how people travel and navigate their lives, the Didi murders not only showed the enormous responsibility these companies have in creating a safe environment for passengers, but also showed that the public expects these companies to provide these secure conditions.

After the August murder, Didi suspended its Hitch service, which pairs drivers and passengers traveling the same route (the young women were killed while using Hitch), and added several new safety features to make Didi safer for passengers and to quickly assist customers with any problems they might have.

 

#2 Flaunt Wealth Challenge

Hashtag “Flaunt Your Wealth Challenge” (#炫富挑战#) – 2,3 billion views

See article here

The ‘Flaunt Your Wealth’ or ‘Falling Stars’ hype, in which people post staged photos of themselves ‘falling’ out of their vehicles surrounded by luxury items, first spread on social media in Russia in the summer of 2018, and then made its way to other countries. In China, it became one of the biggest social media hypes of this year.

But besides those photos of seemingly rich Chinese ‘falling’ out of their super expensive cars surrounded by Gucci bags and Chanel make-up, there was also an anti-movement that became hugely popular. It showed how people were mocking the challenge by laying on the floor surrounded by their diplomas, military credential, or study books – defying superficial ideas on the meaning of ‘wealth’ and what it actually looks like.

 

#3 The Traveling Frog Craze

Hashtag “Traveling Frog” (#旅行青蛙#) – 2,1 billion views

See article here

1997 was the year of Tamagotchi, 2018 was the year of the Traveling Frog. The mobile game, designed by a Japanese company, took Chinese social media by storm this year, with thousands of people sharing their struggles in taking care of their virtual frog, which often goes traveling.

The game is characterized by its rather uneventful nature. While at home, the frog sits around and eats or reads, and while away, the player can’t do anything but take care of the garden and wait for their virtual friend to send them a postcard before finally returning.

There are various theories explaining the success of the game. Some say the uneventful app is appealing for young Chinese with stressful lives since it has a calming effect, others might suggest it offers a sense of ‘home’ in a society where fewer people feel at home where they live, and there were even some voices in state media ascribing the success to China’s low birth rates.

 

#4 Jin Yong Passes Away

Hashtag “Jin Yong Passes Away” (#金庸去世#) – 2 billion views on Weibo

The passing of Chinese wuxia novelist Jin Yong (查良鏞), also known as Louis Cha, became big news on Chinese social media this fall. Wuxia (武俠) is a genre of Chinese fiction that focuses on the adventures of martial artists in ancient China, and Jin Yong is regarded as one of the best – if not the top – authors within the genre. Many of his works, of which over 300 million copies were sold worldwide, have been turned into tv series and films.

Jin’s passing set off waves of nostalgia on Weibo, where thousands of netizens shared their favorite works and scenes, thanked the author for all he did, and praised his contributions to Chinese popular culture.

Another person who passed away in November of 2018 is the renowned Hong Kong actress Yammie Lam (藍潔瑛). News of her death also received millions of views on Chinese social media.

 

#5 Gene-modified Babies

Hashtag “First Case of Gene-Edited HIV Immune Babies” (#首例免疫艾滋病基因编辑婴儿#) – 1,9 billion Weibo views 

See article here

News that a Chinese researcher from Shenzen has helped make the world’s first genetically edited babies made international headlines in November of this year. He Jiankui (贺建奎) claimed that together with his research team, he succeeded in altering the DNA of embryos, making them resistant to HIV. The twin girls were born earlier this year.

On social media, the topic received many mixed reactions, with many condemning the researcher’s work, and others praising it. Chinese authorities launched an investigation into the research shortly after news came out, and He Jiankui has not been heard of since. Many people on Weibo are now wondering about his whereabouts, what will happen to him, and how this will further impact the lives of the two girls whose genes were edited.

 

#6 Golden Horse Ceremony’s ‘Taiwan’ Speech

Hashtag “Gong Li Refuses to Confer Award” (#巩俐拒绝颁奖#) – 1,9 billion views on Weibo

See article here

The annual Golden Horse Film Awards in Taipei turned out to be a painful confrontation between mainland actors and Taiwanese pro-independence supporters this year. Although Ang Lee, chairman of the Golden Horse committee, had probably hoped to keep politics out of the film festival, the atmosphere of the live-streamed event changed when award-winning director Fu Yue expressed her hopes for an independent Taiwan during her acceptance speech. Later on in the show, actor Tu Men from mainland China struck back on stage by saying he was honored to present an award in “China, Taiwan.”

Things got more polarized and political when famous Chinese actress Gong Li, at the end of the show, refused to get on stage with Ang Lee to present the award for Best Feature Film. The evening officially seemed ruined when, at the end of the night, it turned out that most mainland actors and producers declined taking part in the celebratory award dinner and went straight back to the mainland instead.

This was not the only topic this year that showed that the current and future status of Taiwan is still an incredibly sensitive topic that can set off waves of angry nationalism on social media. A brief visit to Taiwanese bakery 85°C by ROC President Tsai Ing-wen and the surfacing of an old video of actress Vivian Sung in which she called Taiwan her “favorite country” also triggered major discussions on cross-Straits relations.

 

#7 Chongqing Bus Plunges Into River

Hashtag “Why Chongqing Bus Plunged in the River” (#重庆公交车坠江原因#) – 1,4 billion Weibo views

See article here

In late October of this year, an incident in which a public bus plunged off a bridge into the Yangtze river, causing all 15 passengers to die, became a huge topic on Chinese social media. The security camera footage from inside the bus later showed how a passenger who apparently had missed her stop gets angry with the driver and starts hitting him with her mobile phone. The driver then abruptly turns the steering wheel, hitting oncoming traffic, crashes through the safety fence, and plunges into the river.

The incident caused major concerns over aggression in Chinese public transport, with other videos of similar incidents also making their rounds on social media. The city of Nanjing soon introduced security partitions on buses, and the existence of special “grievance awards” for bus drivers who do not respond to angry passengers also became a topic of debate. Many people on Weibo called for bus cards to be linked to one’s identity so that troublemakers will be able to be blacklisted from buses in the future.

 

#8 The Kunshan Stabbing Case

Hashtag (#追砍电动车主遭反杀#) – 1,25 billion views on Weibo

See article here

A bizarre road-rage incident in which a muscular and tattooed BMW driver attacked an innocent cyclist with a big knife, but then ended up dead himself, was the biggest story on Chinese social media this summer, triggering countless of memes.

The entire scene was caught on security cameras. In the night of August 27, a BMW switched from the car lane to the bicycle lane in the city of Kunshan (Jiangsu), colliding with a man driving his bike, who seemingly refused to give way. Two men then step out of their BMW vehicle to confront the cyclist, with one man going back to his vehicle, suddenly pulling out a long knife and going after the cyclist, stabbing him. During the fight, however, the BMW driver suddenly lets the knife slip out of his hands, after which the bike owner quickly picks it up. With the knife in his hands, he now starts attacking the BMW driver, who eventually dies of his injuries.

One of the main reasons for the mass focus on this incident was that there was an ethical question involved, namely: to what extent could this be regarded as legitimate self-defense? It did not take long for the answer to come out, as authorities ruled it self-defense in September. For many, the news was proof that justice had prevailed.

 

#9 The Dolce and Gabbana Controversy

Hashtag “D&G Show Canceled” #DG大秀取消# and “D&G Designer Responds Again” (#dg设计师再次回应#) 820 & 940 million views on Weibo 

See article here

Although 2018 was supposed to be a great China year for Italian luxury brand Dolce & Gabbana, things unexpectedly spiraled out of control in November of this year, while the brand’s “D&G Loves China” campaign was in full swing.

It started with criticism on a video that was launched by the fashion brand to promote its upcoming Shanghai show. The video, that shows a Chinese model failing to eat Italian food with her chopsticks, was deemed sexist and insulting by many. Things started going downhill real fast after screenshots of comments attributed to fashion designer Stefano Gabbana, in which he scolds China and makes derogatory remarks about Chinese, went viral. It soon led to the cancellation of the big D&G show in Shanghai.

Despite apologies issued by the D&G founders, many netizens called for a boycott of the brand. It is yet unclear to what extent the marketing disaster has affected the brand, but one thing this incident shows is that cultural insensitivities in marketing campaigns can soon lead to a public relations mess.

 

#10 Wang Baoqiang’s Divorce Drama Continues

Hashtag “Wang Baoqiang Beats up Ma Rong” #王宝强殴打马蓉#) received some 520 million views before it was taken offline 

See article here 

Will there be another year when the 2016 split between Chinese celebrities Wang Baoqiang (王宝强) and ex-wife Ma Rong (马蓉) does not make into the top-trending lists?! Ever since the dramatic divorce of the two became one of the top hashtags of 2016, their fights have continued to be a major topic on Chinese social media.

This time, Chinese actress Ma Rong claimed that her ex-husband attacked her when she came to pick up her children at his house in early December. Dramatic photos and hospital footage soon made their rounds on Weibo, but when news came out that the ‘attack’ might have been staged, and that Ma Rong had caused a scene at her ex’s house, netizens condemned the actress for her actions.

The incident became a major source of inspiration for the Weibo meme machine, where others imitated the dramatic Ma Rong photo and photo-shopped it into gossip magazines.

 

#11 The High-Speed Train Tyrants

Hashtag “High-speed Train Tyrant Woman” (#高铁霸座女#) – 505 million views and #高铁霸座事件# – 110 million views

See article here

The two train tyrants of 2018 will probably go down in China’s social media history for their meme-worthy and bizarre behavior, that triggered a storm of criticism online. Both of their bad behaviors on high-speed trains were caught on video.

In August of this year, one rude man from Shandong, who refused to give up the seat he took from another passenger, became known as the “High-Speed Train Tyrant” (高铁霸座男 gāotiě bà zuò nán) on Chinese social media. A video showing the man’s rude behavior went viral, and netizens were especially angry because the man pretended he could not get up from the stolen seat and needed a wheelchair – although he did not need one when boarding the train.

In September of 2018, a woman from Hunan, who was dubbed ‘High-Speed Train Tyrant Woman’ (高铁霸座女 gāotiě bà zuò nǚ) by Weibo netizens, had also taken a seat assigned to another passenger while riding the train from Yongzhou to Shenzhen. Despite the conductor’s reasoning, she refused to get up from her window seat to return to her own seat.

Netizens soon linked the two ‘Train Tyrants,’ creating dozens of memes that showed the two as lovebirds getting married. The incidents also showed public support of China’s nascent Social Credit System, with many calling for a system that would allow these kinds of misbehaving people to be blacklisted from public transport in general.

 

#12 Invictus Gaming: The E-Sports Craze in China

Hashtag “The Meaning of IG Championship”  #IG夺冠的意义# – 540 million views on Weibo

See article here

People were going absolutely crazy over the success of China’s e-sports when ‘Invictus Gaming’ (IG) became the first Chinese team to win the League of Legends World Championship. Students were hanging banners from their dorm rooms, videos of cheering crowds in school canteens flooded Weibo, and dozens of new memes surfaced on Chinese social media. One of them showed two monkeys with a big “Congratulations IG” above them and one wondering “What is IG?!”, and the other telling him just to follow the rest in congratulating them anyway, signaling that many people had never heard of ‘Invictus Gaming’ before, and were clueless about the top trending lists being filled up with this new topic.

China’s e-sports craze also made one Weibo post the most popular of all time, when billionaire Wang Sicong announced he would be giving away more than $160,000 to Weibo users to celebrate the victory of the Chinese team.

 

#13 The Boy who was Duped at the Hair Salon

Hashtag “Hairline-boy expressions” (#发际线男孩表情包#) – viewed  470 million times on Weibo

See article

What was supposed to be a quick visit to the hairdresser turned into a disaster when the 18-year-old Wu Zhengqiang (吴正强) was presented with a 40,000 yuan ($5750) bill and a bad haircut. Although the teenager eventually could pay a much lower amount of money to the salon, Wu turned to local media to tell about his unfortunate haircut, and shared that he was not just sad about losing the money, but that he was also unhappy with his new hairstyle and hairline.

The story soon went viral and triggered the creation of dozens of new memes across Chinese social media, turning the duped boy into one of the biggest internet sensations of 2018.

 

#14 Meng Wanzhou WeChat Moments Post

Hashtag “Meng Wanzhou’s WeChat Moments Post after Release” (#孟晚舟保释后发朋友圈#) – 380 million views on Weibo

See article

The December 1st arrest of Meng Wanzhou (孟晚舟), the financial officer of Chinese telecom giant Huawei Technology – which happens to have been founded by her father, Ren Zhengfei (任正非), – became huge news in China and across the world.

Meng was detained during a transit at the Vancouver airport at the request of United States officials. She is accused of fraud for violating US sanctions on Iran. Meng allegedly helped Huawei get around these sanctions by misleading financial institutions into believing that subsidiary company ‘Skycom’ was a separate company in order to conduct business in Iran. Chinese officials, demanding Meng’s release, have called the arrest “a violation of a person’s human rights.”

Meng was released on bail on December 11th. She then shared an update on her Wechat ‘Moments’ page, which received mass attention on Weibo. It showed the feet of a ballet dancer along with a quote saying that “there is suffering behind greatness” (伟大的背后都是苦难). Meng also thanked people for their support, and in doing so, once again received thousands of supportive messages on social media.

 

#15 The Tang Lanlan Case

Hashtag “The Truth about the Tang LanLan Case” (#汤兰兰案真相调查#) – viewed 340 million times on Weibo (also 汤兰兰性侵案 => hashtag now removed, then 50 million views)

See article 

The news story of a decade-old abuse case caused an uproar on Chinese social media in late January of 2018, when many netizens on Weibo believed that reporters of the story were biased and were harming the privacy of Tang Lanlan, the alleged victim in the case.

In 2008, a then 14-year-old girl named Tang Lanlan (汤兰兰, pseudonym) accused her father, grandfather, uncles, teachers, the rural director and neighbors of sexually abusing her since the age of seven. It later led to the prosecution of 11 people for rape and forced prostitution of a minor – including Tang’s own parents. As some of those people, including Tang’s mother, had since been released after serving their sentence, they sought the attention of the media in claiming that Tang, now 23 years old, had fabricated the story and that they were searching for her.

Netizens harshly criticized Chinese media outlets such as The Paper for featuring the story and giving away details about the identity of Tang, saying they should protect the victim instead of choosing the side of those convicted. The outrage was so huge that some reporters were even doxxed by netizens, and that articles and hashtags were removed, making the Tang Lan Lang case the greatest clash between Chinese media and netizens in 2018.

 

#16 Foreigners’ “Preferential Treatment”

Hashtag “Pretend to be foreign and Ofo gives back deposit right away” (#假装外国人ofo秒退押金#) – 250 million views. 

See article

There have been many topics over the past year that involved national pride and Chinese social media users feeling insulted or discriminated against. One such topic is the recent collective anger directed at bike sharing platform Ofo for allegedly helping foreigners much quicker than Chinese nationals.

A Weibo user who did not feel like waiting for hours on the phone to get his Ofo deposit back decided to pose as a foreigner to see if it would help. He sent an email in English via Gmail to Ofo, requesting his deposit back. It worked. He posted about it on Weibo, and millions of people responded with anger. Earlier in 2018, there was also outrage when a short movie went viral on Chinese social media that exposed the big differences between the dorm conditions of Chinese students and of foreigners studying in China.

 

#17 The Sweden Controversy

Hashtag “Chinese Tourists Abused by Swedish Police” #中国游客遭瑞典警察粗暴对待# and “Swedish TV Show Insults China” #瑞典辱华节目#– 170 and 50 million views on Weibo

See article here and here

The alleged maltreatment of a Chinese family in Stockholm ignited major discussions on Chinese social media this September when footage showed how a Chinese man was dragged out of a hotel lobby by Swedish police, while his elderly parents were crying on the sidewalk. The dramatic footage was shot after the tourists arrived at their hotel long before check-in time, and were refused permission to stay overnight in the lobby. When they refused to leave, police got involved.

Chinese media greatly criticized Swedish authorities for how they handled the incident, and it even led to the Chinese embassy in Sweden issuing a safety alert. Not long after, a satirical Swedish TV show made fun of Chinese people through a sketch that listed a number of do’s and don’ts for Chinese tourists, including “not taking a poo outside of historical places.” The TV show added fuel to the fire and was condemned by Chinese social media users. The Chinese embassy in Sweden denounced the satirical Swedish TV show for “maliciously attacking” China. The entire ordeal did not do any good for the relations between Sweden and China, that have already been tense due to the imprisonment of Swedish-Chinese author Gui Minhai.

 

#18 Fugitives on the Loose

Hashtag “Two Fugitives on the Loose” (#两名重刑犯逃脱#) – 170 million views

See article here

It was almost like a movie: two criminals spectacularly escaped from a Liaoning prison and the entire country went on a manhunt, with authorities giving out a big reward for those who’d catch them and setting out drones to catch the two.

Social media played an important role in the search for the fugitives, that took place in early October of this year. Ten thousands of people closely followed the ordeal, as security footage from a local store was posted online only hours after their escape, showing the two criminals buying some food and cigarettes. Within 50 hours of their escape, the fugitives were captured by the police through the help of local villagers.

While you’re here, also check out the top 30 best books to understand China we published earlier this year!

By Manya Koetse

*1 (We kindly ask not to reproduce this list without permission – please link back if referring to it).


Directly support Manya Koetse. By supporting this author you make future articles possible and help the maintenance and independence of this site. Donate directly through Paypal here. Also check out the What’s on Weibo donations page for donations through creditcard & WeChat and for more information.

 

Spotted a mistake or want to add something? Please let us know in comments below or email us.

©2018 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com

 

 

image_print
Continue Reading
Advertisement

Facebook

Advertisement

Follow on Twitter

Advertisement

About

What’s on Weibo provides social, cultural & historical insights into an ever-changing China. What’s on Weibo sheds light on China’s digital media landscape and brings the story behind the hashtag. This independent news site is managed by sinologist Manya Koetse. Contact info@whatsonweibo.com. ©2014-2018

Contribute

Got any tips? Or want to become a contributor? Email us as at info@whatsonweibo.com.
Advertisement

Trending This Week