Global Journal of Human Social Science, C: Sociology and Culture, Volume 21 Issue 5

changes in the mode of cultural mobilization since the 19th century, and then discuss the characteristics of the current mobilization. II. T he B irth of " T heatre- T ype M obilization" It is generally said that cultural mass mobilization began after the emergence of modern culture in the 19th century. Before modern times, literature and art were basically things that only a few elites could enjoy. Art and music are all such things. Artists basically painted and made sculptures for princes, nobles, churches, and other patrons. Their works were placed in palaces, noble houses or churches, and the people inside appreciated them. The musicians also compose music for their patrons, the work is played in-house, and the people inside appreciate it. The same goes for drama. As we all know, the emperor of the Qing Dynasty gathered theater troupes from various places in the capital and asked them to perform frequently in the palace. Through the exchanges of various theater troupes, a comprehensive artistic Peking opera has been formed. Folk drama was basically developed as a drama dedicated to the gods, and ordinary people could only see drama during festivals and so on. Of course, literature is no exception. Only those who could get the manuscripts and engraved editions could appreciate it. But after the rise of the bourgeoisie in the 19th century (correctly speaking, in the first half of the 19th century in Europe, at the end of the 19th century in Japan, and at the beginning of the 20th century in China), the situation changed dramatically. Many citizens began to appreciate all kinds of literature and art. For example, many citizens began to go to art galleries to see art exhibitions and to recitals to listen to music. The common people's habit of going to theaters to see plays has become common in modern times. The same goes for literature. With the development of printing technology, large number of books, magazines, and newspapers have begun to be published, and literary works have become things that citizens can touch in their daily lives. In other words, the cultural model of mobilizing the masses began. We temporarily call it the "theatre-type mobilization" model. In the 20th century, the era of copying technology came, as Benjamin said, and new media such as movies and radio appeared, and later television, and gradually formed a culture that could mobilize larger number of people. The real mass culture, in other words, the more developed "theatre-type mobilization" culture began. The culture of this era has realized a circulation system of "production- consumption-reproduction". In this system, creators (writers, artists) express their own images or thoughts in their works, delivered them through mass media to an unspecified number of recipients (readers, listeners, audiences), and reproduce the work by their reaction. The above cultural circulation system has a characteristic. The thought and image that the creators express in their works is not the most important issue. The problem is how to effectively convey their images and ideas to the public through the media, in other words "efficiency". For example, Marxist authors may express Marxist ideas in their works, fascists may express their images, and art supremacists who want to avoid political interference may express various trends of modernism. From the perspective of ideology, they are all very antithetical things. However, the above- mentioned circulation systems do not ask about their ideological differences, as well as the quality or depth of their thinking. The important thing is whether it can be welcomed by many readers, listeners, and audiences, in other words, whether it can mobilize the public. Therefore, although the Nazi literature and art or propaganda paintings and the works under the former Soviet Stalin system are ideologically polarized and completely opposed, the images are very similar and sometimes have a strong modernist atmosphere. And both are enjoyed by the public. For example, Leni Riefenstahl's "Olympia" and Eisenstein's "Battleship Potemkin" are completely ideologically opposed, but both have a strong modernist flavor and are both popular with the public. The 20th-century culture with the above characteristics developed into a culture focused on unitary value in the 1930s, which can also be said the extreme mode of "theatre-type mobilization". We call it "the culture under the total war system." It is part of modern culture on a global scale. This kind of culture can be seen worldwide, obviously with the characteristics of the culture of the 20th century. Modern Chinese culture is no exception. What is the culture under the total war system? What are the characteristics of Chinese culture under the total war system? If we want to analyze these issues, we must first understand the total war system. III. W hat is the C ulture under the T otal W ar S ystem? Total war is a discourse aimed at the characteristics of modern warfare in the 20th century. The general meaning is as follows: ancient wars were basically battles between professional soldiers (so- called combatants). In case of mobilizing non- combatants, at least need to consider their rewards, which means that they are temporarily treated as combatants. The targets of the attack are basically limited to military buildings, equipment, and personnel. (Although snatching occurs frequently, this is an act that occurred after the battle, not the war itself.) But in modern times, the face of war has fundamentally Volume XXI Issue V Version I 23 ( ) Global Journal of Human Social Science - Year 2021 C © 2021 Global Journals Total War System and Youth Culture in East Asia Looking at 20th Century Culture from the Changes of Mobilization Mode