Река Элегия: Упадок традиционной китайской культуры

Television series

River Elegy is an influential six part documentary by Wang Luxiang, and co written by Su Xiaokang, shown on China Central Television on June 16, 1988, which portrays the decline of traditional Chinese culture.

The film asserts that the Ming dynasty's ban on maritime activities is comparable to the building of the Great Wall by China's first emperor Ying Zheng. China's land based civilization was defeated by maritime civilizations backed by modern sciences, and was further challenged with the problem of life and death ever since the latter half of the 19th century, landmarked by the Opium War. Using the analogy of the Yellow River, China was portrayed as once at the forefront of civilization, but subsequently dried up due to isolation and conservatism. Rather, the revival of China must come from the flowing blue seas which represent the explorative, open cultures of the West and Japan. Authors also cite several narratives to make arguments, including the "oriental despotism" and the "hydraulic empire" from Karl August Wittfogel, "Eurocentrism" from Hegel, as well as the "decline of Chinese civilization and remaining of Western civilization" from Arnold J. Toynbee.

River Elegy has caused immense controversy in mainland China due to its negative portrayal of Chinese culture. Rob Gifford, a National Public Radio journalist, said that the film used images and interviews to state that the concept of "the Chinese being a wonderful ancient people with a wonderful ancient culture was a big sham, and that the entire population needed to change." Gifford said that the film's most significant point was its attack on the Yellow River, a river which was a significant element of China's historical development and which symbolizes ancient Chinese culture. Using the ancient Chinese saying that "a dipperful of Yellow River water is seven tenths mud," the authors of the film use the river's silt and sediment as a metaphor for Confucian traditions and the significance of the traditions which the authors believe caused China to stagnate. The authors hoped that Chinese traditional culture would end and be replaced by a more modernized and open culture. The film symbolizes Chinese thinking with the "yellowness" of the Yellow River and Western thinking with the "blueness" of the ocean. The film also criticized the Great Wall, saying that it "can only represent an isolationist, conservative, and incompetent defense," the imperial dragon on the Great Wall, calling it "cruel and violent," and other Chinese symbols. The ending of River Elegy symbolized the authors' dreams with the idea of the waters of the Yellow River emptying out of the river and mixing with the ocean. Gifford said that River Elegy reveals the thoughts of young intellectuals post Mao Zedong and pre Tiananmen Square protests and the freedoms that appeared around 1988. Rana Mitter, Professor of the History and Politics of Modern China in Oxford University has suggested the series was perhaps the most influential TV series of all time given how it introduced critical views of China to such a large audience. Gifford said that the film did not openly criticize the Chinese Communist Party. Instead, it contained "not so subtle" attacks on Chinese imperial traditions that therefore would also criticize the contemporary political system. Conservatives in mainland China attacked the film. On 11 June 1988, Chinese Central Television (CCTV) started airing the six part documentary series, and soon after, the People's Daily published the scripts of the film. After the first show, Heshang stirred up fierce debates among university students and intellectuals. Many journals and universities organized several seminars including the "Heshang Month" in Wuhan and the "Heshang week" in Tianjin to discuss the series and its content, which was called the "Heshang Phenomenon" (Heshang xianxiang). In the beginning, debates mainly focused on the cultural significance of the film, and most audience comments were very positive. Many viewers regarded Heshang as the "beginning of a new Chinese TV culture" that was innovative in its artistic expression and cultural analysis. Since 1978, intellectuals had discussed and debated about the influence of Chinese culture and traditions on the future development of the country. Such debate, however, was limited to the scholarly sphere. Some audiences thus praised Heshang for its attempt to introduce the scholarly discussion about the impact of Chinese traditional culture to the public. More importantly, they considered the film the first Chinese documentary that dared to criticize the "backwardness" of Chinese traditional culture and social problems at the time.