Socialization, Technology, and Opportunity, Research Paper Example

Introduction

The younger generation throughout Asia is represented by an ever-growing level of interest and enthusiasm in popular culture, technology, and social media. In particular, Chinese youth have become captivated by the offerings that are now available to them that support their maturity and socialization. The emergence of digital media in China is a cultural phenomenon of sorts because it captures the spirit, attention, and focus of the younger generation. Many Chinese youth have become increasingly focused on the ideals established in the Western world through pop culture phenomena from the United States and other nations, such as television shows and musical acts. It is evident that a younger generation of Chinese youth have become enamored with Western ideals and fantasies that are further expanded through digital technologies. Therefore, their capacity for learning has shifted towards a different course that captures the spirit of the Western world, for which many Chinese had not been familiar in the past. The following discussion will demonstrate that there are significant opportunities for the youth population in China to develop a greater understanding of their fascination with popular culture from America and other nations in the Western world. In addition, the discussion will emphasize how youth culture has transformed itself into a social network with the use of digital media.

Analysis

China’s younger population has experienced great enthusiasm for all things American, which has been facilitated by the opportunities and access that are available using digital media. The concept of “didactic escapism” is introduced by Wilson (2013, p. 77) as a means of enabling Chinese youth to become immersed in Western culture and values, which includes their fascination with capitalism and the vision of a different type of universe. From this perspective, many Chinese have grown to appreciate and even love much of the entertainment that the United States has to offer, and through the use of digital media, these resources have become increasingly available for use (Wilson, 2013, p. 78). However, Chinese leaders are resistant to Western ideals and therefore attempt to squash these concepts within the youth culture. Many Chinese people in older generations are simply unwilling to bow down to American ideals and allow their nation’s youth to be influenced by American television and films that some may argue to be too perverse or sexual in nature for timid Chinese audiences (Wilson, 2013, p. 78). Therefore, the arguments continue to prevail that Chinese youth should err on the side of caution and limit their exposure to American ideas (Wilson, 2013, p.80).

In the modern era, China is also represented by a set of ideals and expectations that contribute to its unique culture and focus. One area of consideration that impacts many Chinese youth is literature, whereby a phenomenon known as Canon-Mocking Literature has emerged as a means of desensitizing the canon to some degree, while also considering other factors that influence said canon, or laws that govern the Chinese culture (Dongfeng, 2007, p. 203). Canon-Mocking Literature has been largely instrumental in shaping the underlying ideals of the Chinese culture and the youth that support an approach to modern culture that is highly cynical and less than enthusiastic (Dongfeng, 2007, p. 203). These factors represent a challenge to existing political norms and the status quo that exists within Chinese regulatory bodies (Dongfeng, 2007, p. 203). Youth have taken Canon-Mocking Literature to an even higher level with a particular reverence that has a significant impact on their lives, their mobility, and their degree of socialization within specific groups (Dongfeng, 2007, p. 205). These factors are instrumental in shaping modern youth in China in such a way that they portray the difficult nature of living in a society that is not entirely free, one that is governed by a strict regime of Communist ideals and expectations that deviate far from democracy and capitalism (Dongfeng, 2007, p. 205). The lack of respect for canons continues to increase in scope and breadth, given the radical nature of some movements in China that support the opposition in large numbers (Dongfeng, 2007, p. 213). Many youth have become increasingly frustrated with their lives and the expectations that government has set forth for them; therefore, they have begun to revolt and to recognize that there are other possibilities for their lives that go above and beyond tradition and the canon way (Dongfeng, 2007, p. 214). By using Canon-Mocking Literature as a parody of sorts, it provides a basis for exploring different dimensions that support freedom and opportunities that canons simply do not offer to Chinese youth (Dongfeng, 2007, p. 214). These conditions are effective in providing a basis for exploring new ideals that are not necessarily politically motivated, but instead provide a framework for Chinese youth to explore their own frontier on their own terms (Dongfeng, 2007, p. 216).

In exploring Western popular culture in China, it is necessary to consider the resistance that many Chinese have created towards all things American, including perhaps the most American symbol of them all, Mickey Mouse (Althenger, 2013, p. 59). In this context, it is observed that Disney was long excommunicated by China because it symbolized “capitalist imperialism,” a concept largely abhorred by the Chinese government (Althenger, 2013, p. 59). As the Chinese government is heavily involved in regulating the type of content that residents are able to access and view, Disney’s bold frontier and its exploration of fantasy has not been accepted by the Chinese throughout history (Althenger, 2013, p. 60). Therefore, it is widely evident that many Chinese people who might have embraced Disney under other circumstances instead are unable to show their support (Althenger, 2013, p. 60). However, in recent years, the Chinese government has softened its stance in regards to Disney and has been largely instrumental in achieving greater growth in China, albeit under strict Chinese regulatory control (Althenger, 2013, p. 61). It is believed that “The localization of Disney in the People’s Republic has as much to do with middle-class consumerism and rising demands for diverse entertainment products as it does with economic nationalism” (Althenger, 2013, p. 61). Under these circumstances, many Chinese individuals and groups have gradually approached Disney as a potential business partner and an opportunity to tap into a highly lucrative market (Althenger, 2013, p. 63). These factors represent a means of exploring the different dimensions of American popular culture and how it has impacted society in China on many levels (Althenger, 2013, p. 63). These factors could ultimately create an environment that embraces growth and change in the context of business expansion, despite greater oversight regarding content and material (Althenger, 2013, p. 68). This example supports the belief that Chinese youth have bought into the Disney phenomenon, but their exposure remains under control and is highly guarded in many ways (Althenger, 2013, p. 69).

The socialization of youth in Asia has been an ongoing process that has led to new opportunities to express their views and to recognize their options in developing political opinions (Yun and Chang, 2011, p. 135). This perspective is relevant because it emphasizes the importance of modern youth and their ability to express themselves without apprehension or fear of retaliation (Yun and Chang, 2011, p. 135). Since information is so rapidly available to people throughout the world, including Asian youth, it is more important than ever for these youth to obtain access to tools and resources that will capture their youthful spirit and motivation to make a difference in their lives (Yun and Chang, 2011, p. 138). It is not at all surprising that today’s youth are on a mission to improve themselves and their peers through volunteerism, support, and action; therefore, they must also be recognized for their contributions to a society that may limit the expression of these views (Yun and Chang, 2011, p. 138). It is important to enable youth to organize and form teams that will support their beliefs on many different levels and to enable these persons to become a united front in regards to a given issue or framework (Yun and Chang, 2011, p. 145). The power of influence is significant; therefore, many Asian youth possess a great opportunity to be effective communicators of a specific message that serves them well and provides them with greater freedom and understanding of the issues that are most critical to their lives (Yun and Chang, 2011, p. 145).

Conclusion

The youth of modern China are challenged in many ways that might have never been considered several decades ago. These youth are exposed to many opportunities and advantages that others could not imagine, including digital technologies and significant exposure to Western popular culture. As a result, their core values and needs have begun to evolve and transition into an approach that is based upon capitalistic ideals. Therefore, it is evident that many youth in China have gained widespread exposure to many different phenomena that would have never been considered in the past. These alternatives have shaped their ideals, expectations, desires, views, and their level of socialization. As a result, many Chinese youth now embrace some of the ideals of the Western world using digital media technologies, social networking, and other capabilities in order to accomplish the objectives sought through continued growth and change. As China continues to soften on a smaller scale towards Americanized values, beliefs, and cultural phenomena, Chinese youth are likely to benefit from this exposure, but will also be subject to continued scrutiny by the Chinese government and other resources. Therefore, Chinese youth are greatly influenced by the discoveries of the Western world, but they are also torn between remaining true to the values of the Chinese culture. This delicate balance has led to increased tensions in some groups and a greater demand for freedom and opportunity in a largely Communist land. Chinese youth must learn how to utilize available resources to access digital and other materials that are heavily influenced by Western popular culture, but to also recognize that they are subject to limited freedom in this regard.

References

Althenger, J.E. (2013). Comic Travels: Disney Publishing in the People’s Republic of China.

From Anthony Y.H. Fung (ed.) Asian Popular Culture: The Global (Dis)continuity, London: Routledge, pp. 59-75.

Dongfeng, T. (2007). Making Fun of the Canon in Contemporary China: Literature and Cynicism in a Post-Totalitarian Society. Cultural Politics 3(2), 203-222.

Wilson, M. (2013). Didactic Escapism: New Viewing Practices among China’s Digital Generation. Asian Popular Culture in Transition, pp. 77-96.

Yun, S., & Chang, W.Y. (2011). New Media and Political Socialization of Teenagers: The Case of the 2008 Candlelight Protests in Korea. Asian Perspective 35(1), 135-162.