Illustrating China Is More Than Dragons and Pandas - 0 views
foreignpolicy.com/...ns-china-stereotypes-xi-dragon
media China authoritarianism surveillance art journalism opinion analysis
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Aesthetic choices have long shaped how American audiences see the world. Historically speaking, the West’s visual vocabulary tends to champion a fascination “with abjection and violence” in foreign subjects, whether that be the sinister depictions of Japanese people in World War II propaganda, Native American mascots in sports, or distressed communities in Africa and the Middle East.
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Using repetitive, stereotyped tropes to signify that China is exotic, authorientalism visually links these tropes to abuses of government power, thereby promoting the view that authoritarianism is part of the essential character of Chinese-ness. It conflates the culture and the government, and reinforces the state’s own frequent claims that authoritarianism is innate to Chinese history or society.
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Turning authoritarian behavior into an exclusively alien phenomenon also implies that it does not apply to Western political culture, making it harder to recognize totalitarian behavior in more familiar contexts.
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the Yellow Peril illustrations of the 19th century that shaped racist measures like the Chinese Exclusion Act of 1882. Across these movements, illustrators formalized Chinese influence as fictitious characters—ghosts, apes, Godzilla communists, Uncle Sam-eaters—neglecting the reality of what actually met the eye: exploited workers, opportunity-seeking immigrants, new markets for Western enterprise interests, etc.
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Such visual shorthands are useful but also dangerous. They mirror the way America is depicted from the other side. China Daily’s political cartoons fanatically use Uncle Sam or the Statue of Liberty in any opportunity to portray American hypocrisy, in the same fashion as Soviet media did during the Cold War.
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These images also emphasize the technological aspect of surveillance over the human. Global tech runs on human power, from Facebook’s Philippines-based monitoring centers to the estimated 2 million workers who maintain China’s own firewall. It takes people to scrutinize and interpret behavior even if it has been filtered by artificial intelligence, to identify keywords for monitoring online, to decide whether an action crosses a line, and to choose what the punishment will be for crossing it
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The Chinese government has implemented an extremely comprehensive surveillance regime, especially in colonized areas such as Tibet and Xinjiang. Increased reporting on this topic has given way to a sub-branch of visuals characterizing China as a mass-surveillance state. Imagery of security cameras, facial recognition frames, and dramatically posed or saluting soldiers are among the usual suspects that are superimposed on a red background with the five gold stars of the Chinese flag.
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Authorientalism visually links surveillance with Chinese nationalism, thus de-emphasizing how technological surveillance also pervades the world outside of China.
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Every photo montage or threatening Maoist rendering of Xi promotes a simplified narrative of China and authoritarian horror.
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when the toll of COVID-19 on American lives became too real to ignore, U.S. coverage expanded to show its impacts in hospitals, schools, the workplace, and the home. As a result, we witnessed innovations in how we could tell these stories visually. The attitude went from “look at them” to “this is us.” Editors, photographers, and illustrators were obligated to consider how subjects would be depicted with respect, honesty, and care.
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Authoritarianism can be treated as a threat to Chinese life, rather than a Chinese threat to the United States. To take China seriously means taking seriously the pain and deaths of the people in Wuhan alongside anxieties about how Xi’s leadership or surveillance affects the West. The focus must shift to processing life under the circumstances created by authoritarian rule, rather than reproducing the illusions spun by headline culture. It should center the people affected themselves. How might they reflect on China’s issues? How might we portray those views?