This chapter analyses the multifaceted impact of the arrival of thousands of refugees in Macau, showing how relief activities depended on the pragmatic interplay and cooperation of different state and non-state actors. Focusing on Chinese refugees from Shanghai and Guangdong province, and on Portuguese Eurasian refugees from Shanghai and Guangzhou, the chapter details how an unprecedented refugee influx constituted both a crisis and an opportunity for the territory’s administration, local population and the refugees themselves. These wartime refugee waves led to the emergence of a peculiar wartime cosmopolitanism in Macau, which sprang from new flows of people, capital and ideas from major treaty-port metropolises.

The transformation of the film industry was tightly bound up with the plan of the Chinese Communist Party for creating the new nation and its socialist culture and the “revolutionization” of film stars was an essential part of it. This chapter focuses on the story of one individual, the actress Li Ming, who started out as a military arts soldier in the New Fourth Army, to illustrate the everyday politics at the Shanghai Film Studio in the 1950s. Li Ming suffered an identity crisis as both actress and party cadre, witnessed the complicated relationship between the new nation and film stars, and experienced the impact of the “organization” on her new individual career. From a perspective of “the party’s own,” her story provides us with an intriguing way to understand the revolutionary cultural agenda, examine the degree to which the power of the Party permeated the grassroots, and comprehend the everyday politics in the socialist transformation of the urban culture.

This chapter mainly discusses the process of Shanghai evacuating a large number of urban population from the city in the early days of the founding of the people’s Republic of China by sending “refugees” and “victims” home, mobilizing farmers to return home for production, and calling on urban residents to migrate and reclaim wasteland, and changing their identity into farmers through land reform, joining co-operatives or establishing collective farms.The Communist Party of China reduces the urban population and consumption through these methods, aiming to realize the strategy of industrialization as soon as possible and build a strong socialist country.

Ishiguro’s fiction is pervasively concerned with questions of home and homelessness, and with the kinds of displacement, un-belonging, and cultural otherness that are characteristic of the immigrant condition and that can be traced to Ishiguro’s own experience of being relocated, at the age of five, from Nagasaki, Japan to England. There is an irony in how Ishiguro’s characters are often constantly on the move as their movement is juxtaposed against their internal stasis. Yet, the motif of travel helps reflect the ungrounded or displaced condition of the immigrant. This chapter focuses on two novels that directly and explicitly address the question of migration from one country (and one continent) to another – A Pale View of Hills concerns the trauma of moving from Japan to England; When We Were Orphans centres around an intercontinental move, from pre-communist Shanghai to pre-war Britain – in order to consider the importance of immigration and the condition of being nationally and ethnically ungrounded in Ishiguro’s work. The chapter will also consider Ishiguro’s latest novel, Klara and the Sun, to consider immigration alongside attendant issues of race and labour.

East Asia had incorporated Western music well before dodecaphony was introduced. Its foray into atonality and dodecaphony is unsurprising. Japan, as the first country to fully embrace Westernisation, played a major role. Developments of dodecaphony in China and Korea were connected to Japan through an active network of ideas, print media, and movement of people in the region. Despite their shared resources, however, wars and politics determined whether or not (and when) composers in different East Asian countries had the liberty to explore dodecaphony. China was close to developing dodecaphonic compositions before being stopped after the founding of Communist China in 1949. The post-Mao introduction of dodecaphony, led by Luo Zhongrong, was a late ‘arrival’. Japanese composers’ initial enthusiasm for dodecaphony did not gain in significance. Yoritsune Matsudaira and Joji Yuasa were representative. In Korea, led by Isang Yun and Sukhi Kang, serialism was employed thoughtfully by several generations of composers throughout their creative output.

This chapter defines serialism in terms of dodecaphonic technique, beginning with a discussion of the role of analysis in relationship to performance. Whilst Webern’s Variations op. 27 have been the subject of exhaustive analysis by other commentators, the present discussion takes a somewhat different approach, considering the interpretive insights gained by a study of sketch material. The composer’s drafts are examined in relation to the published score for their potential to enrich the performer’s perceptions. The second part of the chapter traces the movement to integral serialism in the post-war period, and the challenges of ‘pointillist’ scores with their profusion of agogic and dynamic marks, which leave seemingly little scope for interpretation in the traditional sense. The contributions of Boulez and Stockhausen to the piano repertoire are considered, and a discussion of the role of the interpreter in indeterminate scores of the period occupies the final section of the chapter.

The 1964 Peking Science Symposium and 1966 Summer Physics Colloquium were the two largest-scale international science congresses hosted by Mao’s China. Chapter 4 delves into the inner workings of these events, which brought hundreds of visitors to the People's Republic of China from throughout Asia, Africa, Latin America, and Oceania. From planning through to post-conference tours organised for participants, it examines the network of organisations and individuals at national and local levels that collectively shaped these major initiatives to bring foreign scientists to China on the cusp of the Cultural Revolution. In doing so, it shows the extent of integration and coordination between science and foreign relations systems during the Mao era.

This chapter retraces the appeal made by Ho Chi Minh's legal team to the Privy Council in London in an attempt to cancel a Hong Kong Governor-in-Council order to return him to a French jurisdiction. Drawing upon British and French documentation, the chapter explains the out-of-court settlement in his favor but also intramural government maneuverings and even incompetence in the handling of his case: Ho Chi Minh's thwarted attempt to reach England, an aborted trip to Singapore and, with local Hong Kong legal assistance, his anticlimactic final departure from Hong Kong to Shanghai. A range of documentation is brought to bear upon, for example, faux reports of Ho Chi Minh's death, his journey to Moscow and communist recriminations over his Hong Kong interlude.

Industrialization was the catalyst for the spread of urban modernity across China in the first half of the twentieth century, although most factories were in large coastal cities and the northeast in Manchuria. The Japanese invasion of 1937 forced the Nationalist government and millions of people to move west, and cities such as Chongqing and Kunming grew substantially. Cities were now connected via rail, road, telegraph, telephone, and air travel, and the urban system was reconfigured along these new communications networks. Chinese cities acquired commercial and industrial districts, new administrative zones, parks, and residential areas, while new building technology and architectural styles transformed urban skylines. Experiments in municipal governance came together in a suite of new laws passed after the Nationalist government came to power in 1927 that sought to impose order and standardization across the country, and urban plans were produced for many cities, although many never made it off the drawing board. No longer was American, European, or Japanese culture confined to coastal treaty ports. Teachers, doctors, engineers, shop girls, bank clerks, and factory workers across the country were all able to purchase global brands, watch films made in Hollywood or Shanghai, and listen to jazz in clubs.

Chapter 4 focuses on the career of the actress Shangguan Yunzhu, from bourgeois film star in late 1940s Shanghai to re-educated “art and literary worker” in post-revolutionary New China. Shangguan’s early career and education enjoyed limited success but built on her fortuitous affiliation with the left-wing Kunlun Film Company. Shangguan’s post-revolutionary private and professional life had ups and downs, including allegations against her husband, Cheng Shuyao, during the Three Antis campaign (anti-corruption, anti-waste, anti-bureaucracy) in 1951. Her return to the limelight as a re-educated “old star” came in the context of PRC cinema of the mid-1950s. The controversy surrounding a much-publicized 1956 dinner she had with Mao Zedong shaped Shangguan’s own political fortunes compared to those of her colleagues during the Anti-Rightist movement of 1957. Finally, Shangguan was denounced over a series of humiliating struggle sessions at the start of the Cultural Revolution, which coincided with a diagnosis of terminal breast cancer, together leading the actress to commit suicide in 1968. Shangguan’s legacy, with her close relationship with Mao and Jiang Qing, reveal the persistence of metropolitan modernity in spite of the Party’s mainstream revolutionary socialist discourse.

The experiences of the hundreds of cities throughout China where Communist Party leaders exercised relative restraint during the protests, blockades, and strikes offer countless alternative paths and show how unnecessary it was for the PLA to open fire in Beijing on June 3 and 4. Student leaders thought that bloodshed in Beijing would spark a nationwide uprising. Enraged protesters did shut down traffic and tried to organize strikes, but failed to bring about regime change. One alternative path in 1989 was 1911-style provincial declarations of independence. But in 1989, local leaders were not inclined to turn against the Party to which they owed their careers and political futures.

People throughout China rose up in outrage when they learned of the Beijing massacre. They blockaded roads and railways, and even formed new political parties. In Chengdu, authorities followed the Beijing model of "clearing the square," and in the process, police killed demonstrators. Shanghai's leaders responded differently, mobilizing loyal workers to clear blockades instead of resorting to violence. In late June, explosions rocked two passenger trains, causing mass casualties. Communist Party officials in Beijing blamed saboteurs who were reacting to the Beijing massacre.