Screens As Faces and Façades: Old Order and New Media - Screens on Tiananmen Square in Beijing

Vera Tollmann

Screens As Faces and Façades: Old Order and New Media - Screens on Tiananmen Square in Beijing

Publikation: Beiträge in Zeitschriften › Zeitschriftenaufsätze › Forschung › begutachtet

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Screens As Faces and Façades: Old Order and New Media - Screens on Tiananmen Square in Beijing. / Tollmann, Vera.
in: Modern China Studies, Nr. 1, 2, 2016.

Publikation: Beiträge in Zeitschriften › Zeitschriftenaufsätze › Forschung › begutachtet

Bibtex

@article{27df575638c141668c64d069a9fbf41f,

title = "Screens As Faces and Fa{\c c}ades: Old Order and New Media - Screens on Tiananmen Square in Beijing",

abstract = "High-tech, site-specific, screens on Tiananmen Square seemed to have been built as technologically {\textquoteleft}up-to-date{\textquoteright} visual proof for the ongoing modernization process of Chinese society. Tiananmen Tower opposite the screens holds the iconic Mao portrait on its fa{\c c}ade. Traditional screen paintings were placed inside as well as outside to define space, provide intimacy and place. Following Wu Hung, a screen has a 'face' and a 'back'. I will analyze the significance of these screens: as a remediation (Bolter and Grusin) of Chinese traditional screens and as 'furniture' for nation building. There is a pair of hi-tech screens on Tiananmen square which was installed in 2009 at the occasion of the People's Republic 60th anniversary. I visited the screen-equipped square in 2012 and 2013.",

keywords = "Digital media, contemporary Chinese media culture, urban screen, screen painting, contemporary China, public space, remediation",

author = "Vera Tollmann",

year = "2016",

language = "English",

journal = "Modern China Studies",

issn = "2160-0295",

publisher = "Center on Contemporary China",

number = "1",

}

RIS

TY - JOUR

T1 - Screens As Faces and Façades

T2 - Old Order and New Media - Screens on Tiananmen Square in Beijing

AU - Tollmann, Vera

PY - 2016

Y1 - 2016

N2 - High-tech, site-specific, screens on Tiananmen Square seemed to have been built as technologically ‘up-to-date’ visual proof for the ongoing modernization process of Chinese society. Tiananmen Tower opposite the screens holds the iconic Mao portrait on its façade. Traditional screen paintings were placed inside as well as outside to define space, provide intimacy and place. Following Wu Hung, a screen has a 'face' and a 'back'. I will analyze the significance of these screens: as a remediation (Bolter and Grusin) of Chinese traditional screens and as 'furniture' for nation building. There is a pair of hi-tech screens on Tiananmen square which was installed in 2009 at the occasion of the People's Republic 60th anniversary. I visited the screen-equipped square in 2012 and 2013.

AB - High-tech, site-specific, screens on Tiananmen Square seemed to have been built as technologically ‘up-to-date’ visual proof for the ongoing modernization process of Chinese society. Tiananmen Tower opposite the screens holds the iconic Mao portrait on its façade. Traditional screen paintings were placed inside as well as outside to define space, provide intimacy and place. Following Wu Hung, a screen has a 'face' and a 'back'. I will analyze the significance of these screens: as a remediation (Bolter and Grusin) of Chinese traditional screens and as 'furniture' for nation building. There is a pair of hi-tech screens on Tiananmen square which was installed in 2009 at the occasion of the People's Republic 60th anniversary. I visited the screen-equipped square in 2012 and 2013.

KW - Digital media

KW - contemporary Chinese media culture

KW - urban screen

KW - screen painting

KW - contemporary China

KW - public space

KW - remediation

UR - http://www.modernchinastudies.org/us/issues/past-issues/122-mcs-2016-issue-1/1398-2015-12-22-16-21-49.html

M3 - Journal articles

JO - Modern China Studies

JF - Modern China Studies

SN - 2160-0295

IS - 1

M1 - 2

ER -