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Ting Shi

The politics of the state were  subtly insinuated in a barrage of dizzying cultural symbols the Olympic host city meticulously calibrated and  majestically unleashed before a record global audience last night.
The show's chief architect, renowned film director Zhang Yimou ,  some of whose films have  come under fire at home for showing foreigners the dark side of China, concocted an unmistakable  glorification of the country last night.
But the show was anything but an over-the-top display of nationalist pomp,  cultural critics said. Signs and symbols were carefully chosen to reflect the image the host nation intended to project on the world stage it managed to seize for around an hour.
'[The show] attempted to speak to us, in a grand, idealising fashion, of a strong, intelligent, peace-loving, prosperous nation free of problems,' said Zhu Dake ,  director of culture studies  at Shanghai's  Tongji University.
'It  used an array of cultural and technical resources to direct viewers towards something - to enhance our sensitivity and readiness to respond favourably towards the body it's representing: the nation, its belief and vision.
'It embodied an aspiration. It is intended as a  spur to recognition. It was a kind of propaganda.'
Highbrow cultural icons, such as calligraphy, water-ink painting, the 'four great inventions' and the Silk Road, were highlighted to flaunt the old civilisation's cultural superiority, while  cliches  such as pandas, dragons and the terracotta warriors, were eschewed.
Symbols of strength and masculinity, such as drums, Chinese totems, the colour of red and earth tones,  were used to stimulate a feel of admiration among viewers, the professor of aesthetics  said.
The focus on  the 'four great inventions' was meant to tell the world that 'the ancient Chinese shaped the way we live today' with  gunpowder, paper, printing and the compass.
A smattering of swagger could also be detected in the segment on the Silk Road -  a path less travelled in displaying Chinese culture - he said.
It signified the host nation's 'ancient role as the dominant civilisation of East Asia' which imparted important catalysts such as the four grand innovations to the west that helped it achieve  technological and military pre-eminence.
Cui Weiping ,  a professor at the Beijing Film Academy, pointed out several moments that teetered on the brink of kitsch - such as  the marching formations and synchronised crowd movements so dear to the hearts of Chinese leaders.
'The gigantic group formations were to showcase a mysterious supreme power that controls individuals,' Professor Cui said.
'The effects were to make viewers feel awed and humbled in the face of the state power.'
Creativity was in short supply, especially in the second part, which featured the  foolproof format of using thousands of children, she said.
There was also no room for humour, which had endeared previous hosts such as Athens and Sydney to the world.
A nation's self-deprecation, or lack of it, had some truth behind it, said Zheng Xiaojiu ,  humanities professor at Renmin University.
'China would appear in a better light if it were not so obsessed with executing perfection in front of the world and were able to poke fun at itself,' Professor Zheng said.
The number of performers is: 15,000
The number of drummers is: 2,008
The number of heads of state exceeds: 80
The number of fireworks is: 33,866
Cost, in US$, including the closing event,: $100m



No cliches, nor any humour, but a vision of an ideal China