We can see the cracks starting to show in US military and economic hegemony. To be sure, they’re still the most powerful country in the world, but they can obviously no longer take on the rest of the world combined like they could in the 90s.
But more insidiously, the US still seems to be the hegemonic hyperpower in terms of cultural output. Even countries that are geopolitically at odds with the US happily and ravenously consume its art, entertainment, and literature, and to a lesser extent, those from loyal vassals of the US such as Japan, south Korea, and Western Europe.
It’s not just due to reach. I feel that cultural output from the US (and vassals) is genuinely more creative, technically advanced, complex, innovative, and prolific than cultural output from the rest of the world. As someone of Chinese descent who doesn’t strongly identify with American culture, this weighs on me heavily.
I’ll compare American and East Asian cultural output since that’s what I’m most familiar with.
Hollywood cinema is obviously the gold standard the world over. American films such as The Matrix, Blade Runner, and Fight Club are full of symbolism, innovative cinematography, and complex narratives. Korean films such as Snowpiercer, Parasite, and Oldboy are not far off. In comparison, the top Chinese movies such as The Wandering Earth 2 and The Battle at Lake Changjin are rather simplistic and don’t necessarily have a lasting cultural impact, even in China.
Chinese TV is pretty good, with hits like Nirvana in Fire and Reset. But there has been no Chinese series with the wide reach, critical acclaim, innovative and sophisticated narratives, and lasting cultural impact of American series like Breaking Bad, Star Trek, The Sopranos, and Friends, or Korean series like Squid Game. The average Chinese person has heard of Friends, but only a vanishingly-small number of Americans have heard of Nirvana in Fire.
Chinese pop music is largely samey-sounding ballads. Listen to one of the songs by Li Ronghao or Joker Xue, and it could’ve been released today, a decade ago, or two decades ago. In contrast, Western and Korean pop music are constantly evolving and trying new things. Even more creative Chinese artists like Lexie Liu, Hyph11e, South Acid Mimi, and Absolute Purity are largely following established trends and not really setting new trends. Chinese music has no answer to jazz, rock ‘n’ roll, hip-hop, and house. The most identifiably Chinese music simply uses traditional instruments, but there’s nothing particularly groundbreaking or creative about mashing folk instruments with existing pop music. K-pop, J-pop, and even LatAm, West Asian, and Indian pop have immediately identifiable sounds, whereas most C-pop sounds like it could’ve been made anywhere at any time. C-pop has little appeal even in places like Hong Kong. If you look at the HK charts, they’re dominated by foreign artists like NewJeans Jungkook, Yoasobi, and Taylor Swift, with a small handful of HK and Taiwanese artists, but not a single mainland artist. That seems really shameful to me.
Japanese manga and American comics are considered the gold standard, with Korean manhwa a solid third. Meanwhile, Chinese manhua suffers from amateurish art, clunky pacing, unlikeable and selfish main characters, and boilerplate, tropey plots. If you thought isekai was overdone, wait until you see the endless cultivation stories in manhua. It’s kind of embarrassing, really.
It’s a similar story with literature, video games, and animations.
So, why is there such a large discrepancy in the quality of cultural exports coming from the US, Japan, south Korea, and Western Europe vs the rest of the world? Is it simply that these countries are richer so more people have the opportunity to pursue art, and studios have larger budgets? Is art like technolgical advancement in that you have to build up the know-how from the ground up? Or is there some cultural or governmental aspect in countries of the International Community™ that genuinely fosters creativity?
People often talk about this in terms of soft power, but imo what’s even more important is cultural self-confidence. If domestic art or art from friendly cultures is good enough to satisfy one’s own needs instead of having to import everything from countries that want to subjugate your own people, I think that would greatly boost collective well-being, sense of identity, and mental health.
On a personal note, this has been a nearly obsessive worry of mine for the last year or so. I’ve tried talking to a therapist about it but they just suggested that I try to stop identifying as Chinese and start identifying as American. Not very helpful advice. I don’t really have anyone to talk to this about, so I hope I can start a discussion here.
Maybe the Chinese state should create the Ministry of Information that Global North dumdums are already convinced it has, to counter the US state’s cultural hegemony production that @[email protected]’s comment alluded to.
Funny enough, China did once try a very hamfisted, top-down approach to try to cultivate an international pop star. They hand-picked an elite music school graduate, and had her and a production team study superstars like Michael Jackson, Beyonce, and The Beatles. It was a total flop.
I do often fantasize about what it would take to bolster the domestic music scene, though. I think having kids learn an instrument in school like Americans had to learn the recorder would be a good start, as would funding stuff like school bands. Maybe reduce crushing school workloads so kids can touch grass and do hobbies including music. Perhaps subsidizing concerts, music festivals, and recording sessions. Offering scholarships for music school. Maybe even tax incentives for revenue from overseas audiences.
Then I realize that things like poverty alleviation, medical services, and national security are far more pressing issues and I feel a little silly for thinking about the more maximalist ideas. But it’s fun to think about, and I don’t think you can go wrong with at least funding the arts in school.
lmao no wonder it failed
if Chinese media companies want to break into the global market, they should abuse the path that mayos unwittingly left out for them
ANY negative meme about China can always be spun into a positive. Hijacking memes like “egghead man” would definitely make Chinese media more well-known–Imagine a half-comedy, half emotionally-touching series about the silly-looking, but lovable, Egghead Man as he journeys across various towns and cities and solves people’s disputes or whatever.
You could also have little quips that subconsciously teach viewers about Chinese culture (references to Lanzhou Lamian or Har Gow or w/e)
We are in the age of post-irony, the problem is that China is emotionally and socially stuck in the US’s version of the 90s, or even earlier. “Ugly” and “disorganized” and all that stuff is good now. The average Chinese person would probably look at the idea I just typed as hopeless or embarrassing, but it’s actually a very solid idea (and it’s not even particularly original, it’s just obvious)
Another bit idea: a short where Xi Jinping and his translator meet Winnie the Pooh and they have a pleasant conversation about ecology and environmental sustainability (something like this would go absolutely viral on english media)
Lmfaoo this is gold. It would simultaneously defang the Winnie the Pooh meme and explain China’s stance on sustainability. It’s too bad the censors and propagandists in China are so out of touch and incompetent.
Clearly they need to hire more Indian-American brainstormers
(PLEASE, Xi)
I learnt an instrument at school, and I also presume that not all school kids in the US get to learn an instrument.
School workloads are being reduced. The problem right now is with the parents forcing their kids to compete.