Leggere la Cina di oggi: incontri con gli autori

Qui la locandina del ciclo di incontri "Leggere la Cina di oggi: incontri con gli autori", finanziata con i fondi UniGe ottenuti dal gruppo studentesco "Ni hao, Genova!".

• 7 ottobre 2024 – Maurizio Scarpari "La Cina al centro. Ideologia imperiale e disordine mondiale" (il Mulino, 2023)
• 14 ottobre 2024 – Sara D’Attoma "Fiori di pioppo al vento. Storie di donne cinesi in cerca di diritti" (edizioni Lucerne, 2022)
• 25 ottobre 2024 – Tonio Savina "Tra storia e narrazione. Il programma spaziale della Repubblica Popolare Cinese" (Libreria Universitaria, 2023)
• 4 novembre 2024 – Simone Pieranni "Tecnocina. Storia della tecnologia cinese dal 1949 ad oggi" (Add edizioni, 2023)

Per saperne di più: https://life.unige.it/leggere-cina-2024

I primi festeggiamenti per il Capodanno Cinese 2024 a Genova!

Con estremo piacere, segnalo che il giorno 10 febbraio, dalle ore 10, l'Università di Genova in collaborazione con il Museo di Arte Orientale E. Chiossone, ospiterà una giornata interamente dedicata al Capodanno Cinese 2024 per dare il benvenuto all'Anno del Drago.

Per saperne di più: https://life.unige.it/capodanno-cinese-2024

CIAK... SI CINA! Rassegna di film cinesi in lingua originale organizzata dal gruppo studentesco "Ni hao, Genova!"

Eccoci qui con il secondo evento auto-finanziato dal gruppo studentesco "Ni hao, Genova!" ­­– che raccoglie tutti gli studenti di cinese dell'Università di Genova e quest’anno è stato diretto da Paolo Vaccari e Sebastiano Dandolo – in collaborazione con l’associazione Laboratorio Probabile Bellamy e il mio supporto accademico.

Si tratta di “Ciak… si Cina!”, rassegna cinematografica che si terrà in quattro appuntamenti organizzati nei mesi di settembre e ottobre 2023:

• lunedì 18 settembre, ore 19.00: In the Mood for Love
• lunedì 25 settembre, ore 19.00: Aftershock
• venerdì 13 ottobre, ore 19.00: Young Detective Dee: Il risveglio del drago marino
• venerdì 20 ottobre, ore 19.00: Terra e Polvere

Le proiezioni saranno al Tiqu (Piazzetta Cambiaso 1, Genova), alle ore 19.00. I film verranno proiettati in lingua originale (in cinese mandarino, ad eccezione del primo film che sarà in cantonese) e saranno sottotitolati in italiano. L’ingresso è gratuito per gli studenti di UniGe e degli istituti superiori e, per gli altri spettatori, è a offerta libera.

Anche quest'anno, l'iniziativa è stata finanziata con i fondi per le attività autogestite degli studenti di UniGe ottenuti dal gruppo “Ni hao, Genova!” che, già l’anno scorso, aveva promosso due giornate a tema: “Le professioni che il cinese crea: competenze ed esperienze a confronto” (vedi post precedenti).

Le locandine sono state realizzate dalle studentesse Maria Mezzano e Marta Pareto, sempre del gruppo "Ni hao, Genova!".

Le professioni che il cinese crea: competenze ed esperienze a confronto (Giornata 2)

Ecco qui la locandina della seconda giornata, prograamata per il 3 maggio, 14-18, dedicata a "Le professioni che il cinese crea: competenze ed esperienze a confronto". La Giornata 2 passerà in rassegna varie professioni e competenze collegate al curriculum di laurea triennale in Lingue e Culture Moderne per l'Impresa e il Turismo, presso il Dipartimento di Lingue e Culture Moderne (DLCM) dell'Università di Genova. Un ringraziamento al gruppo studentesco "Ni hao, Genova!" che è riuscito ad ottenere i fondi d'Ateneo per realizzare l'iniziativa.

Le professioni che il cinese crea: competenze ed esperienze a confronto (Giornata 1)

Da Genova con furore! Save the date: 26 aprile, 14-18, con "Le professioni che il cinese crea: competenze ed esperienze a confronto". La Giornata 1 passerà in rassegna varie professioni e competenze collegate al curriculum di laurea triennale in Lingue, letterature e culture moderne, presso l'Università di Genova. Un ringraziamento al gruppo studentesco "Ni hao, Genova!" che è riuscito ad ottenere i fondi d'Ateneo per realizzare l'iniziativa.

You Are the Protagonist (主角是你篇)

 

From Small Look Big (以小见大篇)

 

Beijing Opera Celebrities: Interview (京剧名家 – 采访篇)

 

China Adtalks: Advertising to Children and Young People in China

I am happy to share with you the programme of this event I organised for next week!

The one day workshop is called "China Adtalks: Advertising to Children and Young People in China" and will provide useful insights into Chinese advertising, with a specific focus on children and young people.

Programme

10.00-10.10 Welcome

Dr. Peter Lunt, Professor, School of Media, Communication and Sociology, University of Leicester

Dr. Giovanna Puppin, Lecturer, School of Media, Communication and Sociology, University of Leicester

10.10-10.45 “Small Things of Great Importance: Toy Advertising in Republican China" 

Dr. Valentina Boretti, Research Associate, Department of History, SOAS University of London

10.45-11.20 (Re)nationalising Consumerism: ‘I Am a New National Product” (wo shi xin guohuo 我是新国货) Ad Campaign as a Case Study

Dr. Giovanna Puppin, Lecturer, School of Media, Communication and Sociology, University of Leicester

11.20-11.35 Coffee Break

11.35-12.10 “How Chinese Millenials Are Revolutionising Consumerism in China”

Ms. Felicia Schwartz, Founder and Director, China Insight

12.10-12.45 “Banking Ads and Promotional Strategies Appealing to Adolescents in China”

Dr. Kara Chan, Professor, Department of Communication Studies, Hong Kong Baptist University

12.45-13.00 Joint Q&A Session and Concluding Remarks
Dr. Giovanna Puppin, Lecturer, School of Media, Communication and Sociology, University of Leicester

Well... save the date!

New Publication: Media and Religion in China

I am honoured to share with you a wonderful piece of news! The volume Religion and Media in China: Insights and Case Studies from the Mainland, Taiwan and Hong Kong, edited by Stefania Travagnin (University of Groningen), has finally been published for Routledge!

The table of contents can be found here.

It was a real pleasure for me to work with such a great variety of scholars who engage, in aninterdisciplinary way, with different topics ranging across Area Studies (Chinese Studies), Media and Communication Studies, as well as Religion Studies.

In this occasion, I contributed with a book chapter entitled: "The Master Said, the Master Sold? Uses and Misuses of the Confucius Icon in Chinese Commercial Advertising". The chapter is available through my Academia and Researchgate profile.

The initial findings of the research I conducted for this study were presented in a paper entitled "The Master Said, the Master Sold: Representations of Confucius in Chinese Advertising", delivered at the conference of the International Society for Media, Religion and Culture University of Kent (Canterbury, 4-6 August 2014).

Last year, I delivered a presentation at the University of Perugia, invited by prof. Ester Bianchi and the FiSSUF (Department of Philosophy, Social and Human Sciences and Education).

Understanding the Chinese Consumers - a Taster

This year, the second edition of the Leicester Business Festival took place from 24 October to 4 November.

I had the honour to be invited by Sarah Harrison, Leicester City Centre Director at the Leicester City Council, to  present a session entitled "Understanding the Chinese Consumers - a Taster", for the Hospitality and Tourism sector. Clare Hudson, from the University RED (Research and Enterprise Division) played a crucial role in facilitating our initial conversations.

The event sold out very quickly. In one of the meeting rooms located at the third floor of Highcross (the biggest Shopping Centre in Leicester), some of the major local business owners and members of the general public encountered their new customers: the Chinese students. 

The session began with an overview of why it is important to talk about this topic right here, right now. 

The city of Leicester is home to two prestigious universities: the University of Leicester and DeMontfort University. China is the  top sending country in terms of international students to the UK (according to the HESA). The University of Leicester (only) hosts 2,127 students, who are currently enrolled for the academic year 2016/2017. 

A simple stroll down to the city centre is sufficient to realise this growing presence, despite the Chinese students still constitute a sort of an "enigma" for the city. At the same time, as it appeared from the initial findings of some informal conversations with the Chinese students/consumers in Leicester, the city is still not communicating itself well enough. 

This lack of communication (and consequently knowledge) between the Chinese students and the businesses in the city explains why the event was so important and successful: now more than ever, Leicester-based shops and retailers are curious and eager to get to know better China (first and foremost) and the Chinese young generations. 

A feedback form was distributed among participants, with the objective of understanding more in-depth their needs and offering appropriate support and consultancy as part of our enterprise activities.

This Taster intends to be the first of a series of events, that aim at facilitating this process of communication, promotion and integration.

The event was supported by the University of Leicester and also by Chisra (China Studies Research Alliance).

Waiting for everybody to grab a seat!

 Introducing myself and getting started with the Taster

Who are the "new" Chinese consumers and what do they want?

With my PhD student, Dian (Wendy) Wang during the Q&A session

Our audience

Event announcement

Perspectives on Chinese Happiness:
A two-day event at the University of Westminster

29-30 June 2016 The Pavilion, 115 New Cavendish StreetLondon W1W 6UW

WEDNESDAY 29 JUNE 2016

9:00–9:30 Registration and Coffee

9:30 Welcome (Gerda Wielander)

9:45–10:45 Meeting each other and discovering who is here

10:45–12:00 Playback Theatre on “why we are interested in Chinese Happiness”

12:00–13:00 Lunch

13–17 Academic Papers

13:00-13:30 Gerda Wielander

Happiness in Chinese socialist discourse – Ah Q and the “visible hand”

13:30-14:00 Derek Hird

Smile yourself happy: the spread of zheng nengliang (“positive energy”) in contemporary China

14:00-14.30 Giovanna Puppin

Moments of "Happy Chinese Taste": a Critical Interpretive Analysis of CCTV 2014 Spring Festival Gala's Public Service Announcement (PSA) “Chopsticks” (Kuaizi pian 筷子篇)

14:30–14:45 Coffee Break

14:45–15:15 Yang Jie

“Happy Housewives”: Gender, Class, and Psychological Self-Help in China

15:15–15:45 Will Schroeder

Potentially Happy: Queer Chinese Views on Finding Emotional Satisfaction

15:45-15:55 Comfort Break

15:55–16:25 Elisabeth Engetbretsen

Negotiating ‘familial happiness’ in parents’ support-narratives for LGBTQ children: Popo Fan’s Mama Rainbow and Pink Dads

16:25–16:55 Heather Inwood

The Happiness of Unrealisable Dreams: On the Pursuit of Pleasure in Contemporary Chinese Popular Fiction

16:55–17:00 Closure to first day

18:00 Conference Dinner for Speakers, True Heart, Film Crew and invited guests

-:-:-:-

THURSDAY 30 JUNE 2016

9:15–9:30 Arrival and Coffee

9:30–9.50 Welcome to new participants

9.50–11:00 Playback Theatre on “Recalling yesterday’s presentations, and what does it mean for you?”

11:00–11:15 Tea

11:15-12:45 Break-out Group Discussions on the following suggested topics

Happiness and cultural identity

Socialist and post-socialist happiness

Online Dreams of happiness – reality or fiction

Happiness and non-normative sexuality

12:45–13:45 Lunch

13:45–15:15 Group Discussions continued

15:15–15:35 Coffee

15:35–16:35 Playback Theatre on “Sharing last thoughts, feelings and insights”

16:35–17:00 Concluding Remarks and Farewells

The notorious Qiaobi: behind the scenes of an “ad controversy” foretold?

Written by Giovanna Puppin for UoN Blogs / China Policy Institute Blog

In the last two weeks or so, nothing seemed to spark more online controversy than the Chinese Qiaobi 俏比 ad, which was reportedly screened on China’s TV stations and before movies in Wanda cinemas earlier in May. The commercial began to draw extensive attention starting from 26th May, when it was spotted by the online publication Shanghaiist, and then uploaded on Youtube, where it hit 2 million views in just one day. And this happened not for its positive qualities: BuzzFeed was the first to “honour” it with the title of “the most racist ad of 2016”.

The ad story was soon covered by international media sites – including BBC, CNN, Al Jazeera – and commented on by netizens all over the world, also through reaction videos. As a result, the debate also took off on Chinese social media: the notorious Qiaobi ad –redubbed as “the most racist ad ever” – not only was under the world’s scrutiny, but it was also being read as a mirror of racism in the country (in a political way). On 27 May, Mr. Wang – a representative of the company that owns the brand – said that the ad actually never intended to promote racial discrimination, and that foreign media were possibly being too sensitive about it. The following day, though, the company formally apologised with a Chinese-language statement published on the brand’s Weibo account, which caused another wave of indignation.

(Source: Youtube/ Qiaobi)

The 50-second ad opens on a young Chinese woman loading her top-load washing machine, while a cheerful accordion tune is played in the background; some laundry liquid detergent and colourful boxes are displayed behind her (the brand names have been deliberately blurred). A young black man passes by her flat; when he sees her, he stops at the entrance and starts winking and whistling at her from a distance. Because his face and t-shirt are covered with paint (moreover, he is also holding a brush and a can of paint) it is logical to assume that he has been decorating the interior of a flat (or, less probably, hers). She invites him to come nearer – a move that he visibly appreciates – suggesting an imminent seduction, but just as they are about to exchange a kiss, she places something that looks like a green mint candy in his mouth. Immediately, but less gracefully, she shoves him into the washing machine: then she sits on it and waits.

At this point, the music stops: the sound of the man screaming is clearly discernible from the background noise of the washing machine spinning. On the visual code, the advertised product is revealed: Qiaobi laundry gel balls (contained in the colorful boxes depicted before). Once the spinning cycle is over, the Chinese woman opens the washing machine and a young Chinese man emerges from the drum, in front of her astonished – yet pleased – eyes, and to an energetic, gripping tune. The Chinese man is wearing a flawless, clean white t-shirt, and he hands back the detergent ball she had placed into the black man’s mouth (which we now recognise as the advertised product). He winks at her, and, in doing so, a cartoon-style sparkle magically appears. The last scene of the ad depicts the packaging and the product, and a cartoon-style animated dolphin – the pictogram of Qiaobi’s logo. The pay-off: “Change starts from Qiaobi” (gaibian cong Qiaobi kaishi 改变从俏比开始) appears on the screen, and a slightly altered version is announced by the voice-over: “Change is just a Qiaobi laundry gel ball” (gaibian zhishi yike Qiaobi xiyi rongzhu 改变只是一颗俏比洗衣溶珠). The closing shot shows the national hotline number to call for further information.

(Source: Youtube/ Qiaobi)

When I first watched the commercial I immediately recognised it as very similar to – yet different from – two previous ad campaigns for the machine fabric dyes by Coloreria Italiana, namely: “Coloured is Better: What Women Want” (2006) and “Coloured is Better: la Vendetta” (2007). As Mr. Aldo Biasi – the president of the advertising agency – explained to me in a telephone interview, these ads were originally circulated on some minor Italian websites on Women’s Day. The creative idea of transforming a scrawny white husband into a buff black man made an explicit use of race-based sexual stereotypes and had a deliberate ironic intent. In Mr. Biasi’s opinion, this is not the case of the Chinese ad, which he described as “a blatant ripoff with an offensive twist”. The Qiaobi ad not only follows the same storyline but, for the first half, even uses the same background copyrighted music (including the diegetic screaming sound!): this makes it quite difficult to believe that neither the company nor the creative team had never seen the original ads before, as they claimed. The company’s official statement makes no reference to the ripoff, but some Weibo-users pointed their fingers at its reprehensible, careless attitude in blatantly copying another campaign, and even expressed skepticism towards the “professionalism” of the team who created and produced the ad. These are important details that need to be contextualised in the light of China’s official discourse on developing creative advertising, that is being promoted by the authorities to boost a national creative industry and improve the qualitative standards of advertising – also through a new system of professional accreditation.

The main substantive difference compared with the Italian ads is that the reversal of the racial transmogrification- from a black (African) man to a fair-skinned (Chinese) man. This is precisely the aggravating factor that fuelled the allegations of racism and fury online, mainly outside China. Some viewers recognised in the Qiaobi ad the distinctive features of commodity racism, a “creative strategy” that is nothing new in the West – as the infamous campaigns for Pears’ Soap in 19^th Century England demonstrate.

In China though, as explained by Prof. Liu Junhai, racial sensitivity among advertisers and the public is lower than in Western countries. This race-related ad controversy is unprecedented in the country, and the rather banal reason is that the Chinese advertising world is characterised by the almost exclusive portrayal of the Han 汉 people (even though the Qiaobi ad is not the first to depict a black person).

(Source: Youtube/ Qiaobi)

Interestingly, the black man doesn’t appear in the short version of the ad: the “innocuous” version depicting only the Chinese man and the product (unfortunately now unavailable) is actually the one that was screened on China’s satellite TV stations. The longer version gained attention when the independent photographer Benoit Florençon uploaded it on Youtube. In the light of the Chinese government’s recent campaign to clean up e-commerce and online ads (also as a response to the Wei Zexi incident), it might seem surprising that the ad was not stopped earlier.

Apparently, on 5th March this year, the brand’s Weibo account published the following soft-porn-sounding pre-campaign anticipation: “This is the story of a ‘love triangle’ between a black uncle, a little fresh meat, and a sexy goddess” (Zhe shi yi ge jiangshu hei shushu, xiao xianrou, xinggan nvshen de ‘sanjiao lian’ gushi 这是一个讲述黑叔叔、小鲜肉、性感女神的‘三角恋’故事). This teaser provides some useful clues for decoding how the protagonists have been typified (and stereotyped) in the ad. The three nicknames come from Internet slang and equally evoke some sexual connotations: hei shushu 黑叔叔 (literally: “black uncle”) is used in this context as “black daddy”; xiao xian rou 小鲜肉 indicates a young guy with fair skin and innocent looks; xinggan nüshen 性感女神 indicates a sexy woman who is beautiful and seductive.

The primary function of advertising, elementary as it sounds, is to persuade consumers to buy a certain product (or service). Nonetheless, this might be quite challenging for a relatively new, small start-up like the Shanghai-based Leishang Cosmetics Co., Ltd.: neither the company nor the Qiaobi brand are especially well known to Chinese consumers, as demonstrated by the basic questions on the product posted by prospective buyers on Baidu, the scarcity of content provided on the brand’s website, and the unimpressive number of followers of its Weibo account. As China’s laundry care market is characterized by mounting competition, the company decided to position itself through the launch of a new product: the laundry gel ball, promoted as “a healthy and trendy new experience” (jiankang shishang xin tiyan 健康时尚新体验), in contrast to traditional liquid detergents. The target audience consists of young consumers, who do their purchasing online. The word “change” (gaibian 改变) in the pay-off, therefore, should not be interpreted exclusively as linked to the racial transmogrification, but also to the new product and washing habits of the Chinese. Needless to say, the end of breaking through the market doesn’t justify the means. However, it constitutes another detail that needs to be taken into account.

Giovanna Puppin is Lecturer and Programme Director of the MA Media and Advertising, Department of Media and Communication, University of Leicester. She researches Chinese advertising and promotional culture, with a focus on issues of representation, identity, and power. Picture and video: Youtube/Qiaobi.