What kinds of events, issues, ethics, and emotions are mediated through the films? How does the film affect you? What intrigues you most?

THE MOVIE IS CHAI JING’S UNDER THE DOME

From week 2 to week 6, submit a one-page response on the assigned films and readings (no longer than 250 words) by the end of each week (Fridays, 5 pm). In total each student should submit 5 responses. Each response counts for 5%. Each response should address at least one film and two readings from that week. Each response should include a short analysis of one or two scenes from the film and explain the significance of the chosen scenes. Moreover, the response should engage the film with the readings. The following questions will guide students to write the weekly responses though students do not have to answer them all:

What kinds of events, issues, ethics, and emotions are mediated through the films? How does the film affect you? What intrigues you most?

What is the main point that the readings make? Do the readings enhance your understanding of the films? Do you agree or disagree with the arguments of the readings and why?

What is your thought or question after viewing the film, finishing the readings, and attending the class?

Bullet-point responses will not be accepted. A mere summary of the film plot will result in “0” point. You don’t have to use formal citations. Insert information about authors and dates will be fine.

Requirements: 250 WORDS

Full Terms & Conditions of access and use can be found athttps://www.tandfonline.com/action/journalInformation?journalCode=rjcc20Journal of Chinese CinemasISSN: 1750-8061 (Print) 1750-807X (Online) Journal homepage: https://www.tandfonline.com/loi/rjcc20Chai Jing’s Under the Dome: A multimediadocumentary in the digital ageShuqin CuiTo cite this article: Shuqin Cui (2017) Chai Jing’s Under the Dome: A multimedia documentary inthe digital age, Journal of Chinese Cinemas, 11:1, 30-45, DOI: 10.1080/17508061.2016.1269481To link to this article: https://doi.org/10.1080/17508061.2016.1269481Published online: 27 Dec 2016.Submit your article to this journal Article views: 2177View related articles View Crossmark dataCiting articles: 9 View citing articles

ChaiJing’sUndertheDome:AmultimediadocumentaryinthedigitalageShuqinCuiAsianStudiesandCinemaStudies,BowdoinCollege,Brunswick,ME,USAABSTRACTChaiJing’sUndertheDome:InvestigatingChina’sSmogpresentsanunprecedentedmodelofhowamulti-mediadocumentarycanturnanenvironmentalcrisisintoadynamicmediaeventthatachievesmassvirality.The“goingviral”cameaboutbecauseoftheinterplaybetweenunconventionalmultimediadocumentarymodesandanextensivedigitalnetworkcharacterizedbyalargenumberofusersresortingtovarioustechnologies.Whiletherhetoricalpersuasionbuiltuponmultimediaassetsencouragedviewerstointeractwithornavigatethroughthestoryofanenvironmentallyalarmingreality,thedigitalmediaenabledcitizensalertedtodeadlyenvironmentalconditionstotapintoachannelofgreendiscussionanddiversevoices.Theironyofthefilm’sinitialviralityprovokingitsshort-livedcirculationrevealsonceagainthebrutefactofmediacensorshipandsocial-politicalconstraints.Inapollutedlandscapeandmanipulatedvirtualspace,opendiscussionsandinvestigativeexposuresofenvironmentalproblemsremainpoliticalandcontroversial.AfterChaiJing’smultimediadocumentaryUndertheDomewasreleasedonlineonFebru-ary28,2015,itreceived117millionviewsand280millionpostswithin24hoursuntiltheimpositionofofficialcensorship.1Whydidthefilmhavesuchanastonishingreception?Inotherwords,whydiditgoviral?ThispaperattemptstoanswerthesequestionsthroughthelensofamultimediadocumentaryanditsInternetcirculation.ChaiJing’sUndertheDomeisnotadocumentaryfilminaconventionalform,suchasdirectcinemaorcinemaverite.Itisamultimediaworkthatemploysdocumentarymodes,infographicdesigns,photographicimages,audio/videotracks,textualcitations,animatedillustrations,andaTEDTalkformat.UndertheDomeisalsonotsimply‘apersonalwaragainstenvi-ronmentalcatastrophe’,asthefilmmakerdeclares,becausethefilmreliesondigitalchan-nelsandInternetusersasco-agenciesofcommunicationanddistribution.ThecombinedmediaformsofthedocumentaryandtheroleoftheInternetchallengeaswellaschangetheconceptionoffilmproduction,perception,anddistribution.Whathasbeennewlygeneratedisthenotionofaninteractivemultimediadocumen-taryabletoflowacrossdifferentfieldsofcommunicationthroughdigitalchannels.Recentscholarshiponcinemaandmediastudiesproposesthat‘anyprojectthatstartswithanintentiontodocumentthe“real”andthatusesdigitalinteractivetechnologytorealizethisintentioncanbeconsideredaninteractive[multimedia]documentary’(AstonandGaudenzi2012,125–126).InthecaseofUndertheDome,[email protected]©2016InformaUKLimited,tradingasTaylor&FrancisGroupJOURNALOFCHINESECINEMAS,2017VOL.11,NO.1,30–45http://dx.doi.org/10.1080/17508061.2016.1269481

withthedigitalstimulatespublicresponsetoandviewerparticipationindiscussionofenvironmentalissues.Thedialecticalinterplayoperatesfirstonarhetoricalontology,whereinvestigationintoairpollutionrevealsevidenceandoffersexplanationthroughamultimediadocumentarymode.Inresponse,aworldwidenetworkviatheInternetaccel-eratesdistributionofthefilmthroughdigitaldevicesandengagesviewerson-and-off-lineinaparadoxicalpublicspheresubjecttoconstantnegotiationandcontestation.ThisessayexamineshowChaiJing’smultimediadocumentaryturnsenvironmentalrealityintodigi-talarticulationwithmultifaceteddatabase/artifactsasrhetoricalcomponents,andhowthefilm’sInternetcirculationgeneratesunprecedentedinteractivitiesbetweentheinstitu-tionalandtheordinaryaswellasthelocalandglobal.ThemultipledocumentarymodeChaiJing’sUndertheDomeexemplifiesatypeofnewmediathatfeaturesamultipledocumentarymode.Theinnovativemodeextendsbeyondalinearnarrativeorfilm-maker/camera-framedreality.Instead,themultimediaassets–interviews,infographics,filmfootages,illustratedanimations,numericaldata–generateamulti-perspectivepre-sentationandunconventionaldocumentaryexperience.UndertheDomebeginswithspecificquestionscriticaltothedirectoraswellastheaudience:Whatisthesmog?Wheredoesitcomefrom?Whatcanwedoaboutit?Inresponsetothesequestions,ChaiJingcurateshermultimediaassetsandinteractswithheraudiencetomakeacompellingrhetoricalappeal.Themodesofpersuasionmaketheworkappealingtotheaudience(pathos)throughtheproducer’scredibility(ethos)andthework’slogicalreasoning(logos).Personal/maternalvoiceNarrativecredibilityandemotionalresponsebeginswithapersonalandmaternalvoice,creatingaconversationalmodebetweenthefilmmakerandheraudienceinordertobringattentiontothecatastropheofsmog.Thestorysharedwiththeaudi-enceisthatofChaiJing’snewbornbabyandthemedicaloperationtoremoveabenigntumorrightafterbirth.Theimageoftheultrasonicpictureoftheunbornbabyandthemother’sdescriptionoftheoperationinstillananxiousawarenessthattrans-ferstotheproblemofairpollution.Thismaternalpositionisfurtherassertedviathedirector’sinterviewfootagewithasix-year-oldgirlinShanxi,whohasneverinherlifeseenabluesky,orstarsatnight.Withthematernalnarratingvoiceandchildrenpresentedasvulnerablevictims,theaudienceon-siteandonlinerespondstothestorywithemotionandrealizesthatenvironmentalpollutionisthetargetofcriticism.Thematernalvoicethaturgesprotectionoftheenvironmentandchildrenechoesaneco-feministclaimthatassociateswomenwithnature.Ecofeminismtakesthe‘women–natureconnection’asapointofdepartureandviewsthedominationofwomenandtheexploitationofnaturejointly,linkingsocioculturaloppressionandecologicaldegradation(Warren1993;Cuomo2002;Wang1999;Ruether1993).Theproposedconnectionspresentatheoreticalandmetaphoricalframework,againstwhichfeministconcernsofwomenandecologicalconsiderationsofnaturebecomereflexivepartnersinasharedrhetoric.Ecofeminismclaimsthat‘wecannotendJOURNALOFCHINESECINEMAS31

theexploitationofnaturewithoutendinghumanoppression,andviceversa’(Birkeland2010,19).Asappealingasthisstancesounds,however,ecofeminismfaceschallengesfromothertheoreticalschoolsorindividualscholars.Critiquesofecofeminismciteitsessentialistclaimofawoman–natureconnection,itsethnocentricexclusionofrace,class,andethnicity,anditsworshipofwomenasacaringsourceofnature.WhileIwillnotattemptahistoricalreviewofecofeminism,IwillarguethatChaiJing’sUndertheDomepresentsavalidcaseforreconsideringecofeminismagainstChina’sgenderaswellasenvi-ronmentalconditions.Thestoryofpollutionharmingchildrentoldinthevoiceofmaternalexplanationunderscorestheconnectionbetweentheabusedenvironmentandvictimizedchildren.Fromaneco-feministpointofview,thedamagetochildandnatureresultsfromeco-nomicexploitationandtheprojectionofsocial-politicalpower.Thus,themother–children–environmenttriadconstructedinChaiJing’sfilmaddressestheissueofthewomen–natureconnectionthroughrhetoricalpersuasion,amodeofdiscourselegitimizedbymaternalcredibility(ethos),anappealtotheaudience’semotionalsympathy(pathos),andthelogicofcause–effectreasoning(logos).Thefilmrefusestorendermother/natureassilencedvictimsbutinsteadprovidesdocumentaryevidenceofanenvironmentalcatas-tropheandofferscriticalrhetoricinaninvestigativemode.Thefilm’sdiscourseestab-lishesChaiJing’scredibilityasaconcernedmotherandaresponsiblecitizencommittedtoenvironmentalissues.Moreover,theidentitysharedwiththepublicaudience,especiallywithmothersandmothers-to-be,joinedinthepronounsweandI,situatesChaiJingwithordinarypeopleinanon-hierarchicalmanner.Therhetoricofmaternalpersuasionandtheprofferingofaneco-feministperspectivehasencounteredunsympatheticcriticism,however.ChallengestothematernalpositionanditsreliabilityclaimthatChaiJing’suseofherchildtoengageviewersissentimentalandthatthepossiblelinkbetweenherdaughter’stumorandairpollutionisunscientific.OneInternetusercallsthemother–daughternarrative‘cornychickensoup’,forinstance.2TheartistAiWeiweifurtherassertsthat‘herdaughter’stumormaynotbeassociatedwithsmog,butthebrain-damagedmotherfindsclearscientificdatasupport’,and‘thosewhocomprehendthenotionofsmogonlythroughChai’swombmustbebrain-damaged,too’.3Thechargesagainstthefilmandpointedlyagainstthefilmdirectorspeakforasexu-allyorienteddichotomy,wherereasonandnatureaswellasbodyandmindremainasplitpowerstructure.Theprimaryconceptionofawomen–natureconnection,andespeciallythemother–daughternarrative,revealsthesoftspoteasilychallengedbybothdiscursiverhetoricandthevirtualInternet.Inanauthoritarianandeconomicallydrivensociety,itisdifficulttograntwomenandchildrenaprivilegedassociationwithnature,asbothremainsubjecttoexploitation.Furthermore,thevictimizationofwomenandchildreninregardtotheenvironmentalcrisiscannotbeviewedasasinglerelation.Differencesinsocialclass,economicconditions,andevengeographicallocationscomeintoplay.TwochildfiguresinChaiJing’sfilm,oneherbabydaughterinBeijingandtheotherasix-yearoldinShanxi,areportrayedasvictimsofairpollution.Familialandgeographicaldifferencesgeneratedistinctiverhetoricalevi-denceanddocumentaryeffects.ChaiJing’sbabyisthevictimneedingprotection,whereasthesix-yearoldstepsforwardasawitness.Indoingso,thecameraalwaysframesthefor-merfrombehindtoconcealheridentity,butmovestoanextremeclose-upofthelattertocapturehertestimony.Thebackimageofthetoddlerconfinedinsidethehouseandthe32S.CUI

frontalshotofthegirlfacingtheaudiencemakeasharpcontrast,notonlyvisuallybutalsodiscursively.Themannerofexposuretotheaudiencethroughthecameralenssuggestsdif-ferencesinsocialclass,familyorientation,andmaterialrelationswiththeenvironment.Therhetoriccarriedthroughthematernalvoiceandpersonalperspectiveisfurtherempoweredbythefilmdirector’sothercredentialsasaninvestigativejournalistandenvi-ronmentaladvocate.AformeranchorwomanforCCTVwellknownforherinvestigativereporting,ChaiJinghasbeenahouseholdnameandpublicfigureinChina.4Asajournal-ist-turnedenvironmentalist,ChaiJingcanapproachissueswithherinvestigativeskillsandenvironmentalknowledge.Inotherwords,asanerstwhilejournalist,takingonaself-fundedresearchproject,ChaiJingcancredentialherselfasacitizenconcernedaboutairpollutionaswellasanexperiencedandknowledgeablespeakeropposingtheapologistsforindustrialproduction.Chaithushastheprivilegeofhavingaccesstoamedianetworkontheonehandandtoscientificevidenceontheotherhand.ThepracticeofinvestigativejournalismincontemporaryChina,nonetheless,entailsdauntingchallengesandrisks.Thesharedprinciplesofexposingsocialproblems,servingthepublicinterest,andholdingthepowerfulaccountableremainprofessionalethicsamongthosededicatedtoinvestiga-tivejournalism.Theseprinciplesaredifficulttoupholdinreality,however,asauthorita-tivepowermanipulateseventstoescapeculpability.Tosurviveaseffectivejournalists,ChaiJingandothershavetotestboundariesandnegotiatepossibilities.Underthesecon-ditions,ChaiJing’scontinuedcommitmenttoinvestigativejournalismledtohershiftinstatusfromofficialemployeetoindependentjournalist,amovefacilitatedbytheunprece-denteddevelopmentofsocialmediaandtheonlinenetwork.Theincorporationofinvesti-gativejournalismintothemediumofeco-documentarysupportstheethosofnarrativecredibilityandthepathosofaudienceperception,primarilythroughinterviewsandthesocial–visualevidenceprovidedindocumentaryfilm.InterviewsTheincorporationofdocumentarymodesandinvestigativejournalismreinforcesthepersuasivenessofUndertheDome.Themodeofexpositorydocumentaryestablishesapointofviewfortheaudiencethroughanauthoritativevoiceandtherhetoricofreason.Thenarratingvoice,oftenwithcorrespondingvisualfootage,atteststhetruthofthereporting.Inasimilarmilieu,investigativejournalismprobesanddescribesissuesofsocial(in)justiceincriticaldepthandwithextensiveevidence.Theultimatemissionisto‘seekabovealltotellthedocumentedtruth’and‘toprovideavoiceforthosewithoutoneandtoholdthepowerfultoaccount’.UndertheDomethusinves-tigatesthecausesofairpollutionthroughcriticalinterviewsasprimarynarrativecomponentsofthefilm.Theinterviewees,includinginstitutionalrepresentatives,gov-ernmentofficials,sciencespecialists,andwesternexperts,respondtoChaiJing’squestionsaboutthenatureofsmoganditscauseswithscientificexplanationsandself-reflexivesatire.Acceleratedbythesoundtrackandfilmfootage,interviewsequencesdramatizeconfrontationsbetweenthefilmdirectorandthefilmsubject,betweendiscursivecontestandenvironmentalreality.Apre-recordedvideointerview,forinstance,showsProf.AvolattheUniversityofSouthernCaliforniaonalargescreen(seeFigure1).TheexpertisaskedwhetheritistruethatexposuretopollutionhelpsJOURNALOFCHINESECINEMAS33

childrenadapttotheenvironment.Withtheimageoftheforeignacademicandsci-entificpublicationssuperimposedasevidence,theinterviewpresentsauthoritativeexplanationsbackedbyacademiccredentials.Thevoiceandthedataarenotneces-sarilysynchronistic,astheinterviewintendstoadducetheauthoritativevoicetoexplainenvironmentaleffectsonchildren’slungfunctionandcitescholarlypublica-tionstojustifytheclaim.AsamedicalspecialistonthefacultyofaUSuniversity,theinvitedguestconferslegitimacyonthelogosofknowledge.Iftheinterviewwiththeforeignspecialistcodifiestheinvestigation,interviewswithChineseofficials,especiallyfromtheMinistryofEnvironmentalProtection(MEP),revealthecomplicatedsocial-economicconditionsunderwhicheconomicdevelopment,people’slivelihoods,andenvironmentalprotectioncomeintoconflict.ChaiaskstheofficialadministratoroftheMEPwhynothingwasdoneaboutenvi-ronmentalproblems,giventheamplefilmfootageandotherevidenceofillegalactiv-ities.Theofficialreturnsthequestioninarhetoricaltone:‘Wouldyoumakethedecisiontoshutdownproductionandeliminatehundredsofthousandsofjobs,essentiallydestroyingtheeconomyoftheentireprovince?’Chaistrategicallyunveilsthedilemmaofenvironmentalprotectionandeconomicdevelopment,asofficialsandordinarycitizensfacecomplicatedsocial-economicconditions.Theinvestigativeinterviewsandexpositorymodechallengethepowerful,holdingthemaccountableinaself-reflexiveandself-contradictoryirony.Inadoubleinterview,ChaifirstquestionsthedeputyofCRAES,askingwhythefuelstandardisnotsethigher.Theintervieweesaysthatthemajorityofthefuel-standardcommitteememberscomefromthepetrochemicalindustry.Chaitheninterviewstheopposingparty,theheadoftheNationalOilFuelStandardCommittee,withquestionsaboutwhytheoilindustryfailstoregulatefuelstandardsandwhetheritshouldtakesocialresponsibility.TheinterviewexposeswithsatiricalmockerytheironyintheroleoftheMEPinenvironmentalFigure1.ScreencaptionfromUndertheDome.34S.CUI

protection,astheoilindustrymanipulatestheregulatoryprocess.Whensubjectsonoppositesidesoftheissueprovideinformationandrevealproblemssidebyside,Chai’sinterviewsgenerateaself-reflexiverhetoricwhichcatchestheofficialsystemincontradic-tion.Inthisdepictionofregulatorycapture,investigativejournalismworkstogetherwithexpositorydocumentarytoreinforcethemodeofpersuasion.Themostdramaticorsatiricalmomentinaperson-to-personinterviewwithdocumen-taryfootagecomesfromascenewhereChaiJingrequiresthevicegeneralmanagerofapharmaceuticalcompanyinZhejiangprovincetoexplainachemicalodor.Inasplitscreen,theaudienceisinvitedtowitnessthepollutedwaterandlandscapewhilehearingthefilmsubjectclaimthathissenseofsmellisnotassensitiveasChaiJing’s.Thejuxtapositionofverbaldenialandvisualevidencemakestheofficiallooknotonlyatfaultbutalsoridicu-lous.Theinterviewendseffectivelywithadiagramthatshowsthenetworkofcorruptionintheenergyindustry.Theblendofdocumentaryandjournalismgeneratestrans-mediarhet-oricinenvironmentaldiscourse.Asthelinesblurbetweenthetwomediums,wewitnessdifferencesaswellasdynamics:journalisticsensibilityanddocumentaryconsciousness,timelyinvestigationanddepth-drivenexploration,person-to-personinterviewsandcameradocumentation.Itispreciselythetrans-ormultimediamodethatallowsthefilmmakeraswellastheaudiencetoengagethesubjectofairpollutionwithcriticaldepth.Inadditiontothedocumentarymodereinforcinginvestigation,amultimediapre-sentationstylefurtherassertsrhetoricalpersuasion.Tohelpestablishherselfasaknowledgeableenvironmentalistandmediaspecialist,Chaiemploysvisualgraphsforillustrationandbringsinscienceprofessionalsforjustification.Inthis104-minutefilm,forinstance,ChaiJingeffectivelyinterweavesintoherpresentationnumerousgraphs,tables,charts,numbers,anddocuments.InordertoexplainwhatPM2.5meansasanindicatoroffineparticulatematterwhenthemeasurereaches305.91microgramspercubicmeter,acoloredchartisinsertedonthelargescreen(seeFigure2).ThechartshowsthelimitsforPM2.5setbytheWorldHealthOrganiza-tion,theUS,Europe,andChinaas25,37.5,50,75,respectively.Therefore,305.91isFigure2.ScreencaptionfromUndertheDome.JOURNALOFCHINESECINEMAS35

morethanfourtimeshigherthanthehighChinesestandard.TofurtheraddresshowthePM2.5levelaffectshumanhealth,ChaiasksthescientistfromBeijingUniversitytoanalyzetheparticleelements,andamongthe15thatcancausecancer,benzo[a]pyrenereached176,fourteentimeshigherthanthenationalstandard.Theexampledemonstrateshowthejuxtapositionofjournalistandenvironmentalistcreatesarhe-toricalappeal,presentingareliableandtrustworthyfigure.Inthepositionofenviron-mentalist,forinstance,Chaiisabletobridgeexpertknowledgeandscientificreasoning.Asajournalist,Chaicancoverthenewsthroughvisualrhetoric.Sheoffersthepublicaudienceanethosofcredibility,pathosofinspiration,andlogosofreason-ing,allonthesubjectofsmog.ThestyleofChai’spresentationsuggestsinspirationfromtheTEDtalkmodel.TheTEDtalkpackagecontainsmultiplecomponentsunfoldingthroughjuxtaposi-tionsofnarrativeandnarration,digitalandtextual,technologicalandpedagogical.Mostimportant,thepurposeandphilosophyofTEDaimstogenerateanauthenticexperiencewithanengagedaudiencethroughsimplifiedstorytellingandinformationsharing(Watson2014).ByapplyingTEDrhetoricinherpresentation,ChaiJingcon-nectstheChineseaudiencewithconcurrentmediadiscourseandreferences.Itsimmediateimpactisonaudienceengagement,bothonsiteandoff-line.WenoticewhileviewingUndertheDomethatthecameracross-cutsfrequentlybetweenthepresenterontheplatformandtheaudienceintheauditoriumtocreateaninterflowbetweenpresentationandreaction.Thefilm,forinstance,cutstofemaleviewerswhenChaiJingdescribesherdaughter’ssurgery,insertsaclose-upoftheaudiencewithmaskswhenscreeningpolluteddays,andcapturestheaudiencereactionwhenrevealingacancerpatientonhisdeathbed.Theonsiteaudience,selectedandrehearsed,reflectsnotaspontaneouspresencebutarhetoricaldeviceformingasenseofcommunityandcreatingidentificationwithoff-siteviewers.WeunderstandthatinaTED-talk-typepresentation,audiencesareasimportantasthepresenter,becausetheyarepartoftheonsitecommunity.Theirinterestinthetopicandengagementwiththepresentationcontributesignificantlytothemissionofrhetoricalpersuasionandidentification.‘Traditionally,rhetorichasbeenunderstoodassynonymouswithpersuasion;however,ithasbeencharacterizedmorebroadlyasidentification’(Burke1974,19).Identificationmeansestablishingacommongroundwithothers,whetherconsciousornot,ineffortstotranscendvariousdivisionsofsociety(Burke1974,10).Thus,themodeofpersuasionandidentificationgeneratesacommunityspace,whereviewersconcernedaboutenvironmentalissuesshareandspreadthemessage.AnimationCountertodocumentaryconventions,UndertheDomeinsertssequencesofanima-tiontoconveyscientificknowledgeandtoinspirecitizenengagementinenviron-mentalprotection.Alternativeandexperimental,theflashanimationnavigatesbetweenharshrealityandanimatedillustration,andbetweendocumentary-makingandaudienceperception.Thefirstanimationsequence,insertedtoillustratehowPM2.5particlesaffectanddestroyhumanhealth,makesmedicalscienceandenvi-ronmentaldamagecomprehensibleforordinaryviewers(seeFigure3).Inother36S.CUI

words,animationbridgesthegapbetween‘theapparentlyunknowableandseeminglyunimaginable’(Wells1998,51),betweenhumanphysiologyandenvironmentalpro-cesses.Throughtheanimation,theCGIpersonifiesPM2.5aswarriorsandthehumanrespiratorysystemasabattlefield.Ascomputer-designedcartoonfiguresinvadethehumanbody,thedubbedhumanvoice-overexplainstheprocedure.Theanimatedimageandembeddedvoice,acceleratedbyamusicsoundtrack,deftlyvisu-alizehowPM2.5particlestravelthroughthenostril,throat,andlowerrespiratorysystem.Thecreativeanimationbuildsonthevoice-overandvisualillustrationtofos-terpublicengagementinscientificeducationandenvironmentalawareness.Theteamingofdocumentaryandanimation,humannarratorandcartoonimagesfacili-tatesanunderstandingofscientificknowledgewhilechallengingourconventionalperceptionofdocumentaryfilmasatransparentmediumofrealism.Wemayviewtheinsertedanimationashyperrealism,arepresentationoftherealviadigitaltechnologyandcomputerprograms.Theconceptofthehyperrealhasincreasinglyblurredtheboundariesbetweentherealandtheunreal,theactualandthevirtual,realityandillusion.Whenviewedfromconventionalconceptions,animationmayappeartobeinconflictwiththedocumentarymode,buttheincorporatedmediumsfunctioncomple-mentarily,astheincreasinguseofanimationindocumentary‘providesvisualinterpreta-tionsandimagerywhenlive-actionfootageismissing,censored,orunavailable’(Ehrilich2012,73).Animation’spotentialcontributiontothedocumentarycomesfromits‘indexi-calconnectionbetweenthephysicalworldandtheanimatedillusionandmimeticquali-ties’thatfacilitatestheaudience’scomprehensionofrealitythroughanimatedreference(Ehrilich2011).Hyperrealistvisualization,inotherwords,complementsandincorporatesdifferentmediaformultifacetedcommunication,wherethedocumentarymodepresentsoriginalmaterialsandanimationprovidesillustration.‘Consequently,althoughtheseani-matedimagesmaynotbevisuallyrealisticand/orphysicallyindexical,theyareundoubt-edlyinformativeandpossessatruthvaluethatlegitimisesthemandshouldpreventFigure3.ScreencaptionfromUndertheDome.JOURNALOFCHINESECINEMAS37

viewersfromautomaticallydisregardingthemasfictional’(Ehrilich2011).TheindexicalbridgingbetweentheanimatedsequenceofPM2.5particlesinvadingthehumanrespira-torysystemandfilmfootageofanoperationonalungcancerpatientself-reflexivelypro-videsacause/effectexplanationofthehealthconsequencesofsmog.Evenanaudiencewithoutmuchknowledgeofmedicalsciencewillgrasptheconnectionbetweenairqualityandhumanhealth.Thesignificanceofanimationliesnotonlyinbringingknowledgetotheaudiencebutalsoincreatingaparticipativemode,inspiringcitizenengagementinenvironmentalprotec-tion.Inherresponsetothequestionofwhatwecandotofightsmog,ChaiJingcallsonenvironmentalactiviststoactthroughindividualparticipation.Again,animationisusedtodeliverthepublicmessage(seeFigure4).Withhand-drawnvisualimagesandavoice-over,thefilminvitesviewersandcitizenstoparticipateinspecificenvironmentalprotectionactivities:fromtakingpublictransportationtoreducingenergyconsumption;fromexpos-ingillegalindustrialsitestoreportingcommercialmalfeasance.ThehotlinephonenumbermanagedbytheMinistryofEnvironmentalProtection,12369,loomslargeonthescreenandbecomesthemostappealingspectacletotheaudience.Theflashanimationlookssim-plebutitseffectissignificantwhenempoweredbythesocialmediaofahotlinephonesys-temandonlinewebnetwork.ChaiJingknowswellhowessentialitistohavehermessagespreadthroughsocialmedia,aprimarycomponentofChina’sgreenpublicsphere.Infact,phonecallstothehotlinenumber12369increased240%afterthefilmwasreleasedonline,ameasureofthepublicresponsetothefilm’scallforindividualactionagainstenvironmen-talproblems.Whileconnectingcitizensandthegovernment,phonelinescannotpromisefundamentalchangeoverenvironmentalconditions,however,asthegreenpublicsphereinevitablycollideswiththeadministrativesphere.ThisisespeciallytruewhenthegreenpublicvoicespeaksofenvironmentalprotectioninawaythatthreatensadministrativeandFigure4.ScreencaptionfromUndertheDome.38S.CUI

enterpriseinterestsineconomicprofitabilityandsocialstability.Meaningfulpublicpartici-pationinpolicychangesandsystemicreformisrequired.NetworkedcirculationandcommunicationWhenuploadedtowebsitesandcirculatedthroughInternet,themultimedia-generateddocumentaryworkcreatesunprecedentedinteractivityinadigitalfashionbetweenfilmproductionandreception.Theinteractivemechanismanddigitalnetworkmakepossi-blethepopularityoftheInternetandwidespreadsocialmediaincontemporaryChinathathasfacilitatedtheriseofa‘greenpublicsphere’,supposedtofosterpoliticaldebateandaffectpolicy-makingaboutenvironmentalissues(YangandCalhoun2007).Theformationofagreenpublicsphererequiresagreen/publicspacewherecitizenpartici-pationinvolvesdiscussionandvigorousdebateoverenvironmentalissues.Thequestionofjusthowgreenthepublicspherecanbe,however,complicatesthepromisingpicture,asweconsiderthestatecensorshipapparatusontheonehandandvirtualonlinemediaontheotherhand.Institutionsandindividualswithvalidargumentswhoenterthepublicspacetoexpressideasandperspectivesaretheprimaryparticipants.Buttheinstitutionalsidecantaketheroleofamonitorandmanipulatethediscussionofpublicissuesforitspoliticalinterestsandauthoritarianpurposes.China’scurrentpoliticalregimehasdeclaredthat‘theinternethasbecomethemainbattlefieldforpublicopin-ionstruggle’.5Tightenedregulationsandempoweredcensorshiphaveshowcasedasophisticatedcensorshipapparatuscapableofcontrollingtherealandthevirtualinthenameofcyberspacesovereignty.Canthegreenspaceremain‘green’forInternetuserswhenreal-nameregistrationlawsrequirethemtosubmitpersonalinformationintothehandsofgovernmentagencies,whentheGreatFirewallsoftwareblocksandfiltersany-thingundesirabletogovernmentideology,when(in)visibleregulatorybodiespatrolvir-tualspacelikeprisonguards,andwhenpersecutionorimprisonmentcouldbefallanyonecaughtviolatingadministrativeenforcement?Inaddition,thepublicspacegeneratedthroughtheInternetandsocialmediaratherthanconventionalnewsormassmediaopensupavirtualforum,whereboththepowerfulandtheordinaryexercisetheiragencyoverpublicissues.Thenet-workedonlinecommunity,becauseofthevirtualspace,transformsthepublicspherefromsingulartomultipleandfromexclusivetointersectional.Thetransformedmediaoperatingunderthedominanceandmanipulationofanofficialapparatuscanhardlypromiseagreenpublicsphere,however.‘ThetransformativeeffectofonlineactivisminChinaisundeniable’,asFreedomontheNetreports,‘yetthefinalout-comesofhigh-pressureencountersbetweennetizensandofficialstypicallyfallshortofsystemicreformordemocraticdecision-making.Consequently,theyfailtoensuremeaningfulaccountability’.6Inotherwords,thesupposedlysharedorinteractiveonlinespace/platformofpublicdiscussionactuallyexistsascontestedzones,whereinstitutionsandcitizensnegotiateandcompete.UndertheDome,withitswidecircu-lationandproliferatingviewerdiscussionviatheInternet,survivedforonly48hours,andpresentssalientevidence.Thegapbetweentheusesofsocialmediaandtheneedsofordinarycitizensregardingairpollutionandenvironmentalprotectionremainsverywideindeed.TheexampleofChaiJing’sUndertheDomeforcefullydemonstrateshowvariousInternetusersinandoutsidegovernment,domesticandJOURNALOFCHINESECINEMAS39

international,confronteachotherinanefforttoestablishorcontrolavoiceinvir-tualcyberspace.TheofficialDifferentparties,officialsornetizens,looktosocialmediaandthegreenspaceasacon-testedplatformtoexpressopinionsorexercisepower.Theinteractivitybetweenthefilm’sonlinedistributionandtheofficialresponsetoitsparkedanunprecedenteddisputeinChina’scontemporarymediarealm.UponitsreleaseviamajorwebsitesinChina,UndertheDomesurprisinglyreceivedofficialsupport.Thegovernmentwebsite,People’sDailyOnline(www.people.com.cn),providedthemediaplatformwherethefilmmakerfirstuploadedthedocumentaryandfollowedwithaneditorialinterview.ChenJining,MinisterofEnvironmentalProtection,sentatextmessagetothefilmmakertoexpressgratitude.Fourdaysaftertherelease,however,aftermillionsofviews,thefilmwascensoredandtakendownfromsocialmediabytheofficialpropagandabureau.Initialofficialsupportfollowedbysanctionsindicatedthecontinuingfrictionbetweenindividualsandthegovernment,betweennetizensandauthorities,overvirtualonlinespace.Censorsandcensoredengagedinnegotiationsthatfeaturedadynamicofinterven-tionfromparticipatingparties.TheuploadandabruptremovalofthefilmfromwebsitescausedastirinChina’ssocialmedia.‘Itispreciselytheevent’stemporality–itsdistinctrelationtotime’,asFanYangrightlypointsout,‘thatprovidesavaluableopportunitytorethinkhowwediscussChinesepollutioninthecontextofneoliberalglobalization’(2016).Thefilmmakerplayedcarefullywiththescheduleandonlinesitesforthereleaseofthefilm.Althoughchallengingenvironmentalpolicies,ChaiJingwasaninsideroftheofficialmediasystem,aformerCCTVanchorwomanandinvestigativejournalist,andhadaccesstoofficialweb-channelsandtheonlinenetwork.Tothatend,UndertheDomecouldbeairedviapeople.com.cn,theflagshipnewspaperandwebsiteoftheCommunistParty.Theofficialplatformaswellastheresponsesentasignalthatthefilmmayhavebeenfacilitatinggovernmentenvironmentalpolicyorspeakingforofficialinterests.Ironi-cally,whenfacedwiththepressureofpublicperceptionandcollectivereaction,thesamemediahierarchyremovedthefilmoffline.ThecontradictionindicatesthatsocialmediaandcensorshipunderChina’scur-rentconditionsappearparadoxicalandcompetitiveinapoliticalfashion.Theonline/Internetspacethusbecomesaterrainwhereofficialsandnetizensnegotiateanddispute,withtheformermanipulatingthemediacontentandpotentialflowofinformation.ChaiJing’scasepresentsstrongevidencethatvirtualonlinespaceandsocialmediachannelsareopentovoicesofopinionbutcloseddownattheprospectofpotentialaction.‘Thepurposeofthecensorshipprogramisnottosuppresscriti-cismofthestateortheCommunistParty’,butrather‘toreducetheprobabilityofcollectiveactionbyclippingsocialtieswheneveranycollectivemovementsareinevi-denceorexpected’(King2013).ThenetizensWidespreadreceptionofthefilmowedtothelargenumberofInternetviewers,theircriti-calresponse,andexpansivedigitalchannels.Themanifoldinteractionsonsocialmedia40S.CUI

suggesthowitsuserscreateagreenpublicsphereforenvironmentalconcerns.TheresponsetoChaiJing’sfilmcanbemeasuredindatacollectedbyZDC.7Welearnfromitschartsthatover80%ofviewersweredeeplyconcernedaboutairpollutioninChina(seeFigure5).About70%ofviewerswatchedthefilminfullandsaidthatthefilmchangedtheirviewofhazeandgavethemabettercomprehensionoftheproblem.Over75%expressedawillingnesstorestrictcar/airconditionerusageandtakepublictransportation.Moreover,viewersbelievedthatofficialbureaus,emissioncompanies,andlegislaturesshouldbeaccountableforenvironmentaldisasters.Accordingtoonlineinterviewsanddatacollection,positiveresponsesincludedenthu-siasticengagementwithviewingthefilm,acknowledgementofitsimplications,andwill-ingnesstotakeactionstoprotecttheenvironment.Atthesametime,therewasnolackofcriticismfromnetizens,asevidentintheheatedonlinedebateaboutthefilm.Thepublicgreenspacepropagatesahighlyopinionatedpublicsphereanddefiessimpleanalysis.Thefollowingcommentsindicatetherangeofopinions:Thedirectorandthefilmspeakfortheinterestsofthosewell-offmiddleclasselitesthroughhercelebritysocialstatus.Unreliabledatacollectionandforgedinformation.Incredibilityofmaternalpositionthatrelatestheairpollutionwithherbaby’smedicaloperation.Realsourceofpollutionresultsfromagovernmentthatentitlesabsolutepower.Airpollutionishuman-madecatastropheandtheproblematicpoliticalinstitutionsshouldbeaccountableforthecourse.Anewmediamodelwiththecomponentsoffemaleelite,independentproduction,publicconcernedtopic,potentialaudienceperceptionandofficialresourcesupport,andintention.8Figure5.Stillfromzdc.zol.com.cnJOURNALOFCHINESECINEMAS41

Circulationofthefilmalongwithviewerresponsestoitcreatesanopen,onlinespacefordiscussionsaboutenvironmentalissues.Thenewgreenspacecomeswithcontradic-tions,however,asopinionsarediverseandfrequentlyclashing.ThecitedcommentsshowthatInternetusersinChinaarenotahomogenousentity,nordotheyenjoycompletefreedomofexpression.Inaplacewheretheauthoritarianhegemonyrestrictsaccesstopublicorpoliticaldiscourseinphysicalsettingsaswellasvirtualspaces,anindividualwhoaddressesenvironmentalissuesandcallsformassreactionsbecomesapublictargetinbothpositiveandnegativeways.Asaresult,theconsequencesofparticipationinandengagementwithgreenpublicspacemightvarywidely.Public-mindednetizens,forinstance,wouldacknowledgeChai’seffortandfollowtheissueevenfurthertotheirre-sponsiblegovernmentalsystem.Conspiracytheoryholders,bycontrast,wouldquestionChai’scredibilityandhertiestotheofficialsystem.TheInternationalAsthemediaflowtravelsbetweendomesticandinternationalsites,onecantakeaglobalperspectiveontheexposureofChina’senvironmentalcrisis.Theflowofinformationandtheonlineviewingofthefilmcreateatwo-waytraffic,atransnationalintegrationbetweenlocalproductionandglobalperception.DuetotheInternetandsocialmedia,theenviron-mentalspherehasblurredtheborderlinesbetweenthelocalandglobal,therebybetweenproductionandperception.Thetitleofthefilm,UndertheDome,forinstance,originatedfromanAmericantelevisionseriesadaptedfromStephenKing’snovelofthatnameandairedin2013byCBS.Thestoryisabouthowasmalltown,Chester’sMillinMaine,becomessuddenlysealedofffromtherestoftheworldbyaninvisibleandimpenetrabledome.Thedome,asymbolinanallegory,suggeststhemysteriousalienworldbeyondtheearthandtheecologicalproblemsthathumansface;itsuitsChaiJing’sthesiswell:thelethalhazardsofmicroscopicairborneparticles,liketheoverpoweringdome,suffocateone’sbreathandpromisenoescape.Thedomemetaphorcouldalsobereadintermsofsocialandenvironmentalpolitics,namely,theharmfuleffectsofgovernmentcensorship,corporatecorruption,anddestructiveeconomicdevelopment.Intakingthetitleofaforeigntelevisionseries,thefilmproducersadoptarhetoricaldevicewithmetaphoricalintention.Inthewest,socialmediarespondedtoChaiJing’sfilmbycomparingitwithAlGore’sAnInconvenientTruthorRachelCarson’sseminalbook,SilentSpring.Titlessuchas‘Chi-na’sInconvenientTruth’or‘China’sAnswertoAnInconvenientTruth’circledaroundtheInternetwithintheGooglenetwork.9ItistruethatbothUndertheDomeandAnInconvenientTruthdealwithenvironmentalsubjectsinthestyleofaTEDtalk.Nonethe-less,thesimilarapproachdidnotcarrythesameconsequencesandimplications.AnInconvenientTruth,anAcademyAward-winningfilm,broughtAlGore,thepresidentialnominee-turnedenvironmentalist,thehonorofaNobelPeacePrize,renownasaleadingclimatechangeadvocate,andaworldwideaudience.Incontrast,ChaiJing’sfilmremainedonlineforonlyfourdays,althoughitsmessageofcatastrophicairpollutionandtheurgentneedforenvironmentalprotectionareprofessionallydeliveredthroughaTEDxformat.Inotherwords,ChaiJing’sUndertheDome,althoughadaptingtheTEDxstyleandclaiminganindependentproduction,couldnotsharetheplatformandengageitsaudiencelikeGorehad,largelybecauseofofficialcensorshipinChina.ThesimilarTEDrhetoriccouldnotforestalladivergentoutcome,asChineseauthoritiesmonitoredthenewsflow42S.CUI

betweenthelocalandtheglobal.FortheChineseproducer,theTEDtalkpresentationstrucklocalaudiencesasaprofoundnewstylewhileglobalviewersfoundafamiliarfor-mat.ComparingthereceptionofChaiJing’sUndertheDomewithAlGore’sAnInconve-nientTruthhighlightsthedifferentmediacontextsinwhichthefilmnarrativesappeared.Forthepurposeofestablishingsharedexperience,local–globalinterplayextendsthewesternreferencetohistoricaldocumentation.InUndertheDome,thefilmdirectortakestheaudienceonajourneytoLondonandLosAngeles,twocitiesthathavehadahistoryofdevastatingpollution.TheGreatSmogof1952inLondonservesashistoricalevidenceforChai’sUndertheDome.Thefilmcross-cutsbetweenflashbackstofilmfootageoftheLon-donsmogandChaiJing’sonsiteexplanationsorinterviews.Thejuxtapositionofdifferenttimesandplacesdeepenstheenvironmentaldiscoursebyinvestingcontemporaryrealitywithappositehistoricalreferences.ThehistoricalcitationandfilmfootagemeantoeducateaChineseaudiencetothefactthattheunfoldingenvironmentalcatastrophecanbecon-trolledshouldChinachoosetoenforceregulationsonfueluseandemissions.Thecompari-sonbetweenLondonfogandChinasmog,intermsoftheirlethaleffect,doesshowsimilarities.Butthekindoflegalregulationandpolicyimplementationthatoccurredafterthe1952catastropheinLondonisunlikelyunderChineseconditions.10Historicalfootageandotherdocumentaryevidencecannotclaimtobethecompletetruthwhenusedtosup-portaspecificenvironmentalprobleminadifferentsocial-politicalcontext.WithoutEnglishsubtitles,theaudienceoutsideChinamightnothavehadaccesstoChaiJing’sfilm.ThetranslingualprocessbetweenChineseandEnglishgeneratesanothertrans-nationallinkbetweenChinaandtheworld.Ofcourse,globalwarmingaswellasthenewsflowisnotsimplyanationalissue.ButfewviewerswouldhaveguessedthattwohighschoolstudentsinChinahadinitiatedthe‘mission’ofEnglishtranslationwhichbroughtthefilmtotheworld’sattention(Berman2015;Tyson2015;Fox-Lerner2015).Withhelpfromhundredsofvolunteersworldwide,crowdsourcingsubtitletranslationsintoEnglish,thetwoteensre-uploadedthefilmtoYouTube,andithasremainedonlineafterthefilmwastakendownbygovernment-controlledmediainChina.Thefilmhassincebeentrans-latedintoFrenchandJapanese,andaGermanversionisontheway.Thesensibilityofarisingyounggenerationaboutenvironmentalissuesandyouth’simmersioninthedigitalworldhasextendedthegreenpublicspherefromlocaltoglobal.Incircumventingthecyber-wall,theworkoftheseteensdemonstratesthesignificanceofdigitalmediaandthenetworkedinternationalcommunity.ConclusionChaiJing’sUndertheDomepresentsanunprecedentedmodelofhowamulti-mediadoc-umentarycanturnanenvironmentalcrisisintoadynamicmediaeventthatachievesmassvirality.The‘goingviral’cameaboutbecauseoftheinterplaybetweenunconven-tionalmultimediadocumentarymodesandanextensivedigitalnetworkcharacterizedbyalargenumberofusersresortingtovarioustechnologies.Whiletherhetoricalpersuasionbuiltuponmultimediaassetsencouragedviewerstointeractwithornavigatethroughthestoryofanenvironmentallyalarmingreality,thedigitalmediaenabledcitizensalertedtodeadlyenvironmentalconditionstotapintoachannelofgreendiscussionanddiversevoices.Theironyofthefilm’sinitialviralityprovokingitsshort-livedcirculationrevealsonceagainthebrutefactofmediacensorshipandsocial-politicalconstraints.InapollutedJOURNALOFCHINESECINEMAS43

landscapeandmanipulatedvirtualspace,opendiscussionsandinvestigativeexposuresofenvironmentalproblemsremainpoliticalandcontroversial.Yet,UndertheDomenotonlypresentedChaiJing’spersonalwaragainstanenvironmentaloutrage,italsoinspiredpublicconsciousnessofgrimenvironmentalrealities.Forthosewhoareecologicallycon-cerned,itisgoodnewsthatafteritserasureonlineinChina,thefilmremainsavailableviatheinternationalnetwork.Despitethefilmmaker’spunishmentwith‘soft’housearrest,narrativesofanimpendingenvironmentalapocalypsecontinuetounfold.DiscursivenegotiationsbetweenthegovernmentandthenetizenswillneverceasesolongasChinahaswidespreadsocialmedia,aninformedpublic,anddedicatedprofessionals.Notes1.ThefilmisstillavailableonYouTubeathttps://www.youtube.com/watch?vDT6£2uwlQGQ.2.Seehertwitterpostathttps://twitter.com/WilderMohn/status/572916785508458497(Accessed3March2015).3.SeeAiWeiwei’spostontwitterathttps://twitter.com/aiww/status/572913514341269506(Accessed3March2015)andhttps://commondatastorage.googleapis.com/letscorp_archive/archives/855834.ChaiJing,formerinvestigativejournalistandCCTVreporter,isknownforimportantandpopulartelevisionprogramsshehostedinChina,includingHorizonConnection,OneonOne,24Hours,andSeeing.Sheearnedherprofessionalcredentialandinvestigativereputationbyconfrontingandhandlingtougheventsorcrises,suchastheSARSoutbreak,theWenchuanearthquake,andcoalmineaccidents.5.SeeFreedomontheNet:China.https://freedomhouse.org/report/freedom-net/2015/china6.Ibid.7.ZDCreferstoanonlinecenterforconsumerresearchandanalysis:zdc.zol.com.cn.8.Examplesareselectedfromhttp://www.boxun.com/news/gb/china/2015/03/201503012302.shtml#.VqpUAFJgmXs,http://www.momscleanairforce.org/chai-jing-air-pollution.9.TitlesandpostingsonGooglecanbefoundathttp://docsinprogress.org/2015/04/underthedome/,http://www.thedailybeast.com/articles/2015/03/08/china-s-inconvenient-truth-documentary-about-the-airpocalypse.html.10.ParliamentpassedtheCleanAirActin1956,restrictedtheburningofcoalinurbanareas,andhelpedhouseholdstousealternativeheatingmaterials.AcknowledgmentsIwouldliketothanktwoanonymousreadersfortheircriticalcommentsontheearlierversionofthispaper,whichhelpedtherevision.DisclosurestatementNopotentialconflictofinterestwasreportedbytheauthor.NotesoncontributorShuqinCuiisaprofessorofAsianstudiesandcinemastudiesatBowdoinCollege.SheistheauthorofGenderedBodies:TowardAWomen’sVisualArtinContemporaryChinaandWomenThroughtheLens:GenderandNationinaCenturyofChineseCinema.44S.CUI

ReferencesAston,JudithandSandraGaudenzi.2012.“InteractiveDocumentary:SettingtheField.”StudiesinDocumentaryFilm6(2):125–139.Berman,Sarah.2015.“InterpretingChina’sBannedPollutionDocumentary.”TheTyee,March16.http://thetyee.ca/Culture/2015/03/16/China-Pollution-Documentary/.Birkeland,Janis.2010.“Ecofeminism:LinkingTheoryandPractice.”InEcofeminism,editedbyGretaGaard,13–59.Philadelphia:TempleUniversity.Burke,Kenneth.1974.APhilosophyofLiteraryForm.LosAngeles,CA:UniversityofCaliforniaPress.Cuomo,Chris.2002.“OnEcofeministPhilosophy.”Ethics&theEnvironment7(2):1–11.Ehrilich,Nea.2011.“AnimatedDocumentariesasMasking.”AnimationStudiesOnlineJournal7.https://journal.animationstudies.org/nea-ehrlich-animated-documentaries-as-masking/.Ehrilich,Nea.2012.“Animations:D.W.WinnicottandtheContemporaryAnimatedDocumen-tary.”InTheorizingVisualStudies:WritingThroughtheDiscipline,editedbyJamesElkins,KristiMcGuire,MaureenBurns,AliciaChester,andJoelKuennen,73–76.NewYork:Routledge.Fox-Lerner,Aaron.2015.“BreakingtheBarrier:TranslatingUndertheDome:HowtwoBeijingStudentsBroughttheFilmtotheWorld’sAttention.”TimeOutBeijing,April8.http://www.timeoutbeijing.com/features/Books__Film-Film_Features/37710/Breaking-the-barrier-translating-Under-the-Dome.html.FreedomontheNet:China.https://freedomhouse.org/report/freedom-net/2015/chinaKing,Gary,JenniferPan,andMargaretE.Roberts.2013.“HowCensorshipinChinaAllowsGov-ernmentCriticismbutSilencesCollectiveExpression.”AmericanPoliticalScienceReview2:1–18.Ruether,RosemaryRadford.1993.“Ecofeminism:Symbolic&SocialConnections.”InEcofeminismandtheSacred,editedbyCarolJ.Adams,13–23.NewYork:Continuum.Tyson,Elizabeth.2015.“ChinaandCrowdsourcing:TheRiseofaNewGreenGeneration?”NewsSecurityBeat.TheblogoftheWilsonCenter’sEnvironmentalChangeandSecurityProgram,May4.https://www.newsecuritybeat.org/2015/05/china-crowdsourcing-rise-green-generation/.Wang,AlvinY.1999.“GenderandNature:APsycho-logicalAnalysisofEcofeministTheory.”JournalofAppliedSocialPsychology29(11):2410–2424.Warren,KarenJ.1993.“IntroductiontoEcofeminism.”InEnvironmentalPhilosophy:FromAnimalRightstoRadicalEcology,253–267.EnglewoodCliffs,NJ:PrenticeHall.Watson,JosephA.2014.“ScreeningTED:ARhetoricalAnalysisofth

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