Evolution Of Cultural Ecology And Development Of Chinese Reportage In The Twentieth Century

Reportage is a marginal style that considers nonfiction its rule, social concern its aim and real life its content. Chinese reportage accompanies all the way the violently changing 20th century. The nonfictional feature of reportage produces a great number of characteristics of such a style. Not only the reality in China in the th 20 century becomes the concrete target that reportage reflects, but also the social cultural ecology that is formed by the internal connection that reportage authors have for reality. The evolution of cultural ecology determines fundamentally the internal change of Chinese reportage in the 20th century. With reports of real life as its basic characteristic and social criticism as its aim, Chinese reportage has some logical connection with the intellectuals who regard maintenance of human morals, human concern, social criticism and enlightenment as their mission. Reportage, as a way of writing the intellectuals apply, owing to their changing status and stand under specific circumstances, changes in forms from time to time. Chinese reportage records, in one respect, the psychological course of Chinese intellectuals in the 2O~ century. Chinese reportage is a special product of modern cultural transition. As the associated product of modern journalistic culture, the style is an important recording of political culture in this period of time. The 20th century is a century of politics, thus political culture greatly influences reportage. From 1970抯, political culture dominates Chinese society and politicalized reportage became a product politicalized times. The one-way imputation of writers and dual-way mode of version, as a result, became the basic features of politicalized reportage. Under the influence of politics, Chinese reportage developed fast. Meanwhile, Irrational intimacy with politics made it disslmilated. Contemporary culture, emerging in late 1970抯. With opening and multielement as its main characteristics, made it possible to reportage authors and the style to win independence. Reportage authors began writing with independent stand, and its nature of criticism was manifested and strengthened. While in 1990抯, the intellectuals became marginalized. The decline of the author抯 humanities resulted II in their dodging frontal reality. Ideological shortage was a common failing among reportage authors and Chinese reportage decayed as a whole. Therefore, the 1980抯 was an age of reportage and it was considered both the most and the last magnificent period in the history of Chinese reportage in the 2O~II century.