The Political and Cultural Impacts of the May Fourth Movement

| By Rebecca Chiew and Emery Pan, Editors in the Gale Asia Publishing Team |

May 4, 1919 was a day to remember for Chiang Monlin (蒋梦麟), a senior member of the Peking University administration. Three thousand students from Peking University and more than a dozen other universities in Beijing demonstrated in Tiananmen Square against the upcoming signing of the Treaty of Versailles. Chiang went on to write The China Mission Year Book (1919) and in the chapter dedicated to “The Student Movement,” he offered a gripping account of the incident at Tiananmen, detailing the fury and violence perpetrated by the students on the perceived traitors of China, and the countermeasures taken by the Chinese government on the riotous protestors. Chiang also analysed the causes of the May Fourth Movement, described the philosophy that underpinned the students’ mindset, and the societal changes that this philosophy brought about. Chiang later became the president of Peking University and the Minister of Education (1928–1930).

Read more

‘An artist who can get away with this’: The Press Response to Yves Klein’s 1957 London Exhibition

Yves Klein calls his pictures “Propositions.” He very carefully roughens the surfaces so as to express his sensibility. Then he invites the spectator to share the artist’s sensibility by “allowing the mind to plunge into the heart of the colour.”[1]

The debate around modern art versus representational art had begun by the 1950s. The pages of The Listener had followed the debates, as a subject that had “often led to controversy”[2]. Modern art was perceived as an area where “execution determines design instead of design determining execution”, and the modern artist “has done away with the rational meaning of the subject-matter required in traditional art and allows unconscious phantasy to express itself more clearly”[3]. Klein, as the emerging face of modern art, represented this, arguing “that our primary ocular sensation is that of colour, and that he, as an artist, wishes to free this sensation of colour from all extraneous or limiting circumstances.”[4]

Read more

Horror and Censorship Alfred Hitchcock’s ‘Art of the Cinema’

By Daniel Mercieca, Gale Ambassador at Durham University

Since the March 2018 Facebook and Cambridge Analytica controversies, censorship and data protection have come under an intense spotlight in today’s digitised society. While we become increasingly sceptical of surveillance, and cautious of what we post online, it is important to appreciate those who have struggled to be fully seen and heard. The efforts of writers and filmmakers to overcome issues of (in)visibility have consistently featured in my study of literature at university; Elizabeth Gaskell’s serialisation in Charles Dickens’ Household Words magazine, 1850-51 (she was restricted from publishing independently because of her gender), the Brontë sisters’ use of male pseudonyms, and the 1918 posthumous publication of Gerard Manly Hopkins’s poetry due to his Jesuitical vow of obedience, are all examples of nineteenth-century censorship.

Read more