Shan Xiaoying, Ph.D., professor of the Humanities College of Hangzhou Normal University, Head of the discipline of literature and art, and Chief Expert of the National Social Science Fund Major Project “China New Media Literature and Art Research”. He is also the Vice president of the New Media Literary Theory Association, a branch of China Association of Sino-Foreign Literary & Arts Theories, where Shan is one of the directors. He has long been committed to the research and criticism practice of media literature and network literature. He has presided over several major projects such as the National Social Science Fund. He has published nearly one hundred papers in journals including Literary Review and written many academic monographs such as “Media and Literature – Introduction to Media Literature and Art”. He won the second prize and the third prize of the Provincial Social Science Outstanding Achievement Award.
A Critical Review on The “Chinese phenomenon” of New Media Literary Production
China’s new media literature and art emerge 40 years later than the West, but the new Chinese literature and art and “Chinese phenomenon” have already been formed. This phenomenon represents as: rapid development at a late start; mass production and huge consumption; opening up new types of writing in the Internet age; creating a paid reading and browsing model; industrialization that brings world influence; creating new cross-border linkage production mode of different forms of media literature and art. The new media literature and art overseas communication is in full swing. The formation of the new media literary “Chinese phenomenon” is fundamentally derived from the digital literary and productive forces (the production tools such as the ultra-large-scale Internet, mobile Internet, and digital technology that are rapidly developed in China in the past 20 years, and the legacy of Chinese traditional culture and popular literature and art, and the folk writers emeging in the cultural market environment and their writing abilities).
Digital literary productivity has also brought about a revolution in the relation of production of art and literature: the the division and governance between producers and the recipients in the printing era, the hierarchical relationship, break down. New “users”, “netizens” and related producers create a new relationship beyond rank, boundary and identity. In terms of the material and political power restricting new media literary production, China has not only the structural problems of Western “digital capitalism”, but the special political interference different from the West. There are capital and power that produce and contol the new “netizen” class; there are also the complicated relation of confrontation and collusion between them. The aesthetic meanings are also generated under the strain.