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This sources goes through numerous of the social aspects. This sources speaks about the cultural differences, illness in different cultures. It first speaks about themes and representations in the story, then moving onto the film Aesthetics and Cinematic Techniques -- all the way to the critical acclaim and the reception.

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Navigating Tradition and Modern Values

"The Farewell" tells the poignant story of a Chinese-American family grappling with cultural expectations and the complexities of love. Directed by Lulu Wang, the film draws inspiration from her own experiences with her grandmother's cancer diagnosis. The family's decision to keep the prognosis a secret from the matriarch highlights the cultural divide between Eastern and Western approaches to death and family dynamics.

Wang's semi-autobiographical narrative explores the tension between individual desires and familial obligations. The film delves into the concept of "good lies" and the moral quandaries they present. Through its nuanced portrayal of intergenerational relationships, "The Farewell" offers a touching examination of cultural identity and the universal struggle to protect loved ones.

Background and Synopsis

"The Farewell" is a poignant film that explores family dynamics, cultural identity, and the complexities of love across generations. It draws inspiration from director Lulu Wang's personal experiences and cultural traditions.

Plot Overview

The film centers on Billi, a Chinese-American writer living in New York. She learns her beloved grandmother, Nai Nai, has been diagnosed with terminal cancer. Following Chinese custom, the family decides to keep the diagnosis a secret from Nai Nai.

Billi reluctantly travels to Changchun, China, for a hastily arranged family wedding. This event serves as a pretext for the family to gather and say goodbye to Nai Nai without revealing her condition.

Throughout the visit, Billi struggles with the ethical dilemma of concealing the truth. She grapples with her Western upbringing and Eastern cultural expectations.

Characters and Cast

Awkwafina portrays Billi, the conflicted protagonist torn between two cultures. Zhao Shuzhen plays Nai Nai, Billi's spirited grandmother unaware of her diagnosis.

Diana Lin and Tzi Ma take on the roles of Billi's parents. They navigate their own emotional turmoil while trying to maintain the facade.

The ensemble cast includes Chen Han as Hao Hao, Billi's cousin, and Aoi Mizuhara as his Japanese fiancée. Their wedding serves as the family's cover story.

Each character brings depth to the cultural and generational dynamics at play in this intimate family drama.

Production History

"The Farewell" began as Lulu Wang's personal story, first shared on the radio show "This American Life" in an episode titled "What You Don't Know."

Wang's experience resonated with audiences, leading to the development of a feature film. The project faced initial challenges, with some executives suggesting the addition of white characters to increase marketability.

Wang stood firm in her vision, eventually securing funding as an independent film. The movie was shot on location in Changchun, China, adding authenticity to its cultural portrayal.

"The Farewell" premiered at the 2019 Sundance Film Festival to critical acclaim. It went on to receive numerous awards and nominations, establishing Wang as a notable voice in contemporary cinema.

Cultural Themes and Representation

"The Farewell" explores complex cultural dynamics through a Chinese-American family's experience. It delves into the clash between Eastern and Western values, highlighting the nuances of cultural identity, generational differences, and contrasting approaches to illness.

Cultural Identity and Family

The film portrays the struggle of balancing Chinese and American cultural identities. Billi, the protagonist, embodies this conflict as a Chinese-American caught between two worlds. Her family's decision to keep her grandmother's cancer diagnosis secret reflects traditional Chinese beliefs about protecting loved ones from distressing news.

This choice creates tension for Billi, who was raised with Western notions of individual autonomy and honesty. The family gathering in China forces her to confront her cultural roots and reconcile them with her American upbringing.

The movie showcases how family bonds transcend cultural divides. Despite their differences, the Wang family comes together to support their matriarch, demonstrating the strength of familial love across generations and continents.

Generational Conflict

"The Farewell" illustrates the generational gap within immigrant families. Billi's perspective often clashes with her parents' and relatives' more traditional views. This conflict is evident in their differing opinions on concealing the grandmother's illness.

Younger family members, particularly those raised in the West, struggle to fully embrace certain Chinese customs. They question traditions that seem at odds with their more individualistic upbringing. Older generations, in contrast, adhere more strongly to cultural norms and expectations.

The film explores how these generational differences shape family dynamics and individual identities. It shows the challenges of preserving cultural heritage while adapting to new environments and values.

Perception of Illness in Different Cultures

The movie highlights contrasting cultural attitudes towards illness and death. In Chinese culture, as portrayed in the film, there's a belief that openly discussing terminal diagnoses can hasten death. This leads to the family's decision to withhold information from the grandmother.

Western medicine emphasizes patient autonomy and informed consent. This approach conflicts with the Chinese practice of protecting patients from distressing news. The film presents this dilemma without judgment, allowing viewers to consider both perspectives.

"The Farewell" also touches on how different cultures cope with grief and loss. The family's elaborate wedding ruse serves as a culturally appropriate way to gather and celebrate life in the face of impending loss. This approach contrasts with more direct Western methods of addressing terminal illness.

Film Aesthetics and Cinematic Techniques

Lulu Wang's "The Farewell" employs thoughtful visual storytelling and an emotive score to immerse viewers in its cultural narrative. The film's aesthetic choices enhance the emotional journey of the characters and highlight the cultural contrasts at play.

Cinematography and Direction

Wang collaborates with cinematographer Anna Franquesa Solano to create a visual language that reflects the film's themes. Wide shots of bustling Chinese cities contrast with intimate close-ups of family gatherings, emphasizing Billi's sense of displacement. The camera often lingers on characters' faces, capturing subtle expressions that convey unspoken emotions.

Muted color palettes dominate scenes in America, while China is depicted with warmer, more vibrant hues. This visual distinction underscores the cultural divide Billi experiences. Wang's direction favors long takes and static shots, allowing the actors' performances to shine and giving weight to moments of silence and reflection.

Score and Soundtrack

The film's score, composed by Alex Weston, blends Eastern and Western musical elements to mirror the protagonist's dual cultural identity. Soft piano melodies intertwine with traditional Chinese instruments, creating a haunting and nostalgic atmosphere.

The music often swells during emotionally charged scenes, amplifying the characters' inner turmoil without overpowering the narrative. Diegetic sounds of Chinese city life and family dinners add authenticity to the setting. Wang's strategic use of silence in key moments heightens tension and allows the audience to focus on the characters' non-verbal communication.

Critical Acclaim and Reception

" The Farewell" garnered widespread praise for its heartfelt storytelling and cultural insights. The film's nuanced portrayal of family dynamics and cross-cultural experiences resonated with audiences and critics alike.

Awards and Recognition

"The Farewell" received numerous accolades during the awards season. It earned a nomination for Best Screenplay at the 92nd Academy Awards, highlighting Lulu Wang's skillful writing. The film's success at the Sundance Film Festival in January 2019 marked the beginning of its critical journey. Awkwafina's performance garnered particular attention, winning her a Golden Globe for Best Actress in a Motion Picture - Musical or Comedy.

Other notable recognitions included:

Independent Spirit Award for Best Feature

American Film Institute Top 10 Films of the Year

Critics' Choice Movie Award for Best Comedy

Critical Analysis

Critics praised "The Farewell" for its delicate balance of humor and pathos. The film's exploration of grief and family bonds drew comparisons to the works of acclaimed director Hirokazu Kore-eda. Many reviewers highlighted the film's universal themes, noting its ability to transcend cultural boundaries.

The film's portrayal of the Chinese American experience was particularly lauded. Critics noted its nuanced approach to cultural identity, avoiding stereotypes often seen in Hollywood productions like "Crazy Rich Asians". Wang's personal connection to the story lent authenticity to the narrative, allowing for a deeper exploration of complex emotions and family dynamics.

Real-Life Inspirations and Cultural Analysis

"The Farewell" draws from director Lulu Wang's personal experiences and explores the cultural tensions between Eastern and Western approaches to family, illness, and death. The film provides a nuanced look at the immigrant experience and cultural expectations.

Truth in Storytelling

Lulu Wang based "The Farewell" on her own family's decision to withhold a cancer diagnosis from her grandmother. She first shared this story on the radio show "This American Life" in an episode titled "What You Don't Know." The film's tagline, "Based on an Actual Lie," reflects its roots in real events.

Wang's personal connection to the story lends authenticity to the film's portrayal of cultural differences. She masterfully captures the complexities of navigating two distinct cultural worlds as a Chinese-American.

Cultural Commentary and Perspectives

"The Farewell" offers a thoughtful examination of Eastern and Western cultural expectations surrounding family, illness, and individual autonomy. The film highlights the Chinese concept of collective responsibility in decision-making, contrasting it with Western individualism.

Through the character of Billi, played by Nora Lum (Awkwafina), the movie explores the immigrant experience and the challenges of straddling two cultures. Billi's struggle to reconcile her American upbringing with her Chinese heritage resonates with many second-generation immigrants.

The use of both English and Mandarin in the film underscores the linguistic and cultural divide. This bilingual approach adds depth to the characters and their relationships.

Conclusion

"The Farewell" explores complex themes of love, cultural identity, and family dynamics through its poignant storytelling.

The Impact of 'The Farewell'

The film resonates deeply with audiences by portraying a family's struggle with cultural expectations. It highlights the tensions between Eastern and Western approaches to terminal illness and end-of-life care.

The family's decision to conceal the grandmother's cancer diagnosis reflects traditional Chinese values of protecting loved ones from emotional distress. This choice challenges Western notions of individual autonomy and truth-telling in medical contexts.

"The Farewell" has garnered critical acclaim and commercial success, attracting US producers and distributors. Its universal themes of family love and cultural identity transcend borders, connecting with viewers worldwide.

The film's optimistic tone, despite its heavy subject matter, offers a nuanced perspective on navigating cultural differences. It encourages viewers to reflect on their own family traditions and cultural expectations.

Navigating Tradition and Modern Values

"The Farewell" tells the poignant story of a Chinese-American family grappling with cultural expectations and the complexities of love. Directed by Lulu Wang, the film draws inspiration from her own experiences with her grandmother's cancer diagnosis. The family's decision to keep the prognosis a secret from the matriarch highlights the cultural divide between Eastern and Western approaches to death and family dynamics.

Wang's semi-autobiographical narrative explores the tension between individual desires and familial obligations. The film delves into the concept of "good lies" and the moral quandaries they present. Through its nuanced portrayal of intergenerational relationships, "The Farewell" offers a touching examination of cultural identity and the universal struggle to protect loved ones.

Background and Synopsis

"The Farewell" is a poignant film that explores family dynamics, cultural identity, and the complexities of love across generations. It draws inspiration from director Lulu Wang's personal experiences and cultural traditions.

Plot Overview

The film centers on Billi, a Chinese-American writer living in New York. She learns her beloved grandmother, Nai Nai, has been diagnosed with terminal cancer. Following Chinese custom, the family decides to keep the diagnosis a secret from Nai Nai.

Billi reluctantly travels to Changchun, China, for a hastily arranged family wedding. This event serves as a pretext for the family to gather and say goodbye to Nai Nai without revealing her condition.

Throughout the visit, Billi struggles with the ethical dilemma of concealing the truth. She grapples with her Western upbringing and Eastern cultural expectations.

Characters and Cast

Awkwafina portrays Billi, the conflicted protagonist torn between two cultures. Zhao Shuzhen plays Nai Nai, Billi's spirited grandmother unaware of her diagnosis.

Diana Lin and Tzi Ma take on the roles of Billi's parents. They navigate their own emotional turmoil while trying to maintain the facade.

The ensemble cast includes Chen Han as Hao Hao, Billi's cousin, and Aoi Mizuhara as his Japanese fiancée. Their wedding serves as the family's cover story.

Each character brings depth to the cultural and generational dynamics at play in this intimate family drama.

Production History

"The Farewell" began as Lulu Wang's personal story, first shared on the radio show "This American Life" in an episode titled "What You Don't Know."

Wang's experience resonated with audiences, leading to the development of a feature film. The project faced initial challenges, with some executives suggesting the addition of white characters to increase marketability.

Wang stood firm in her vision, eventually securing funding as an independent film. The movie was shot on location in Changchun, China, adding authenticity to its cultural portrayal.

"The Farewell" premiered at the 2019 Sundance Film Festival to critical acclaim. It went on to receive numerous awards and nominations, establishing Wang as a notable voice in contemporary cinema.

Cultural Themes and Representation

"The Farewell" explores complex cultural dynamics through a Chinese-American family's experience. It delves into the clash between Eastern and Western values, highlighting the nuances of cultural identity, generational differences, and contrasting approaches to illness.

Cultural Identity and Family

The film portrays the struggle of balancing Chinese and American cultural identities. Billi, the protagonist, embodies this conflict as a Chinese-American caught between two worlds. Her family's decision to keep her grandmother's cancer diagnosis secret reflects traditional Chinese beliefs about protecting loved ones from distressing news.

This choice creates tension for Billi, who was raised with Western notions of individual autonomy and honesty. The family gathering in China forces her to confront her cultural roots and reconcile them with her American upbringing.

The movie showcases how family bonds transcend cultural divides. Despite their differences, the Wang family comes together to support their matriarch, demonstrating the strength of familial love across generations and continents.

Generational Conflict

"The Farewell" illustrates the generational gap within immigrant families. Billi's perspective often clashes with her parents' and relatives' more traditional views. This conflict is evident in their differing opinions on concealing the grandmother's illness.

Younger family members, particularly those raised in the West, struggle to fully embrace certain Chinese customs. They question traditions that seem at odds with their more individualistic upbringing. Older generations, in contrast, adhere more strongly to cultural norms and expectations.

The film explores how these generational differences shape family dynamics and individual identities. It shows the challenges of preserving cultural heritage while adapting to new environments and values.

Perception of Illness in Different Cultures

The movie highlights contrasting cultural attitudes towards illness and death. In Chinese culture, as portrayed in the film, there's a belief that openly discussing terminal diagnoses can hasten death. This leads to the family's decision to withhold information from the grandmother.

Western medicine emphasizes patient autonomy and informed consent. This approach conflicts with the Chinese practice of protecting patients from distressing news. The film presents this dilemma without judgment, allowing viewers to consider both perspectives.

"The Farewell" also touches on how different cultures cope with grief and loss. The family's elaborate wedding ruse serves as a culturally appropriate way to gather and celebrate life in the face of impending loss. This approach contrasts with more direct Western methods of addressing terminal illness.

Film Aesthetics and Cinematic Techniques

Lulu Wang's "The Farewell" employs thoughtful visual storytelling and an emotive score to immerse viewers in its cultural narrative. The film's aesthetic choices enhance the emotional journey of the characters and highlight the cultural contrasts at play.

Cinematography and Direction

Wang collaborates with cinematographer Anna Franquesa Solano to create a visual language that reflects the film's themes. Wide shots of bustling Chinese cities contrast with intimate close-ups of family gatherings, emphasizing Billi's sense of displacement. The camera often lingers on characters' faces, capturing subtle expressions that convey unspoken emotions.

Muted color palettes dominate scenes in America, while China is depicted with warmer, more vibrant hues. This visual distinction underscores the cultural divide Billi experiences. Wang's direction favors long takes and static shots, allowing the actors' performances to shine and giving weight to moments of silence and reflection.

Score and Soundtrack

The film's score, composed by Alex Weston, blends Eastern and Western musical elements to mirror the protagonist's dual cultural identity. Soft piano melodies intertwine with traditional Chinese instruments, creating a haunting and nostalgic atmosphere.

The music often swells during emotionally charged scenes, amplifying the characters' inner turmoil without overpowering the narrative. Diegetic sounds of Chinese city life and family dinners add authenticity to the setting. Wang's strategic use of silence in key moments heightens tension and allows the audience to focus on the characters' non-verbal communication.

Critical Acclaim and Reception

" The Farewell" garnered widespread praise for its heartfelt storytelling and cultural insights. The film's nuanced portrayal of family dynamics and cross-cultural experiences resonated with audiences and critics alike.

Awards and Recognition

"The Farewell" received numerous accolades during the awards season. It earned a nomination for Best Screenplay at the 92nd Academy Awards, highlighting Lulu Wang's skillful writing. The film's success at the Sundance Film Festival in January 2019 marked the beginning of its critical journey. Awkwafina's performance garnered particular attention, winning her a Golden Globe for Best Actress in a Motion Picture - Musical or Comedy.

Other notable recognitions included:

Independent Spirit Award for Best Feature

American Film Institute Top 10 Films of the Year

Critics' Choice Movie Award for Best Comedy

Critical Analysis

Critics praised "The Farewell" for its delicate balance of humor and pathos. The film's exploration of grief and family bonds drew comparisons to the works of acclaimed director Hirokazu Kore-eda. Many reviewers highlighted the film's universal themes, noting its ability to transcend cultural boundaries.

The film's portrayal of the Chinese American experience was particularly lauded. Critics noted its nuanced approach to cultural identity, avoiding stereotypes often seen in Hollywood productions like "Crazy Rich Asians". Wang's personal connection to the story lent authenticity to the narrative, allowing for a deeper exploration of complex emotions and family dynamics.

Real-Life Inspirations and Cultural Analysis

"The Farewell" draws from director Lulu Wang's personal experiences and explores the cultural tensions between Eastern and Western approaches to family, illness, and death. The film provides a nuanced look at the immigrant experience and cultural expectations.

Truth in Storytelling

Lulu Wang based "The Farewell" on her own family's decision to withhold a cancer diagnosis from her grandmother. She first shared this story on the radio show "This American Life" in an episode titled "What You Don't Know." The film's tagline, "Based on an Actual Lie," reflects its roots in real events.

Wang's personal connection to the story lends authenticity to the film's portrayal of cultural differences. She masterfully captures the complexities of navigating two distinct cultural worlds as a Chinese-American.

Cultural Commentary and Perspectives

"The Farewell" offers a thoughtful examination of Eastern and Western cultural expectations surrounding family, illness, and individual autonomy. The film highlights the Chinese concept of collective responsibility in decision-making, contrasting it with Western individualism.

Through the character of Billi, played by Nora Lum (Awkwafina), the movie explores the immigrant experience and the challenges of straddling two cultures. Billi's struggle to reconcile her American upbringing with her Chinese heritage resonates with many second-generation immigrants.

The use of both English and Mandarin in the film underscores the linguistic and cultural divide. This bilingual approach adds depth to the characters and their relationships.

Conclusion

"The Farewell" explores complex themes of love, cultural identity, and family dynamics through its poignant storytelling.

The Impact of 'The Farewell'

The film resonates deeply with audiences by portraying a family's struggle with cultural expectations. It highlights the tensions between Eastern and Western approaches to terminal illness and end-of-life care.

The family's decision to conceal the grandmother's cancer diagnosis reflects traditional Chinese values of protecting loved ones from emotional distress. This choice challenges Western notions of individual autonomy and truth-telling in medical contexts.

"The Farewell" has garnered critical acclaim and commercial success, attracting US producers and distributors. Its universal themes of family love and cultural identity transcend borders, connecting with viewers worldwide.

The film's optimistic tone, despite its heavy subject matter, offers a nuanced perspective on navigating cultural differences. It encourages viewers to reflect on their own family traditions and cultural expectations.

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'The Farewell' True Story: Lulu Wang's Real Family Struggle with Cultural Expectations

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Discover the true story behind Lulu Wang's 'The Farewell'. Explore how Wang's real-life family experience inspired this poignant tale of cultural clash, family secrets, and navigating tradition in a modern world.

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An article about how death is handled in the Chinese culture. The mourning process, burning the family member's clothes and washing the body before placing it in the casket. Honoring their ancestors is important to the culture and food will be placed in front of the casket during the funeral as an offering.

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In the Chinese American family you will find a mixture of traditional beliefs that date back centuries, and more modern attitudes that reflect western

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Social Context The Handling of Death- Ian Abreu 

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Social Context The Handling of Death- Ian Abreu 

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This article speaks on how the people of China view death with their ideologies about it seeing as something natural that shouldn't be feared, they see that talking about death ruins "natural harmony" within the mind they avoid talking about it in general.

In the film we see the family goes out of their way to not tell Nai Nai about her cancer because they said its not the cancer that kills its the fears and they even outright avoid talking about it in most scenes within the film.

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This source helps readers understand the cultural aspect of the movie “Farewell” by displaying how lulu wangs personal connection china and how it shaped the film. Lulu chose to film in china because this is where her parents lived, instead of the generally city Beijing to hold an authentic feel to the film. Wang uses real location like her actual grandmas apartment and her cousins wedding venue.

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Explore this funny and moving cross-cultural narrative drawn from the life and experience of writer and director Lulu Wang

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This article talks about the Chinese cultural opinion about death. How they react and what are their perspectives, about death.

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JSTOR is a digital library of academic journals, books, and primary sources.

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This sources briefly speaks about the entirety of the movie not only giving social examples of the story. This sources goes speaks about the plot, moving into the social aspects. It speaks about the handling of death, the social separation between America, etc.

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This article goes in depth on how Chinese culture treat their loved ones in their last moments. In their eyes, they see it as a sort of peaceful death. This can be implied as they want their family to decease without a sense of fear or pain and to go on in the afterlife happy.

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In the Chinese American family you will find a mixture of traditional beliefs that date back centuries, and more modern attitudes that reflect western

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This article it helps the reads make them understand the culture aspect in the film the farewell. It tells us how Chinese families how they prioritize family identity over like individual identities. Filial piety it is important in the Chinese culture and it affects the characters actions and their designs. To understand this it is important like how they keep their families illness secret and they try and navigate their relationships together.

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Chinese vs American Family - ChinaSource

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I didn’t understand that by disagreeing with my parents and older people that I was not showing them respect and returning the care they had given me.

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This journal article discusses China's water management. There are mentions of how investments in the infrastructure affect the supply and quality of their water. This article also explains the impact the water has on the environment and general human health.

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JSTOR is a digital library of academic journals, books, and primary sources.

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This article discuses Chinese funeral and death traditions. This article talks of the mourning process families face in Chinese traditions as well as both ancient funeral ceremonies and modern day. This article also talks of the Ritual Wailing seen in the film as well as the history of this wailing.

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JSTOR is a digital library of academic journals, books, and primary sources.

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this article talks about how its tradition to wear white, White is very important to Chinese mourners. Family members can put pieces of white cloth over the dead body.

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JSTOR is a digital library of academic journals, books, and primary sources.

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This article is about how traditional chinese weddings are more about economic and social status. Traditional chinese families tend to focus on family wealth, ranking, and status. In northern china housing plays a role in the marriage, in southern china fortune telling is taken into account. If they are compatible they will marry. Those who live in the country side will usually pressure their children to marry once they hit their early twenties.

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Chinese marriage traditions have always varied throughout different parts of China. Marriage was not as simple as a man and a woman falling in love with each other. Although modern Chinese marriages focus more on love, traditional Chinese marriages tended to focus on economic and social status. Because marriage was viewed as a bond tying two different families together, traditional families consider family wealth, ranking, and status before a couple can marry.

Traditionally, in the northern part of China near Beijing, families would look at the others' housing structures before proposing an arranged marriage between two people. If the house contained Chinese characters written on both sides of the front door and displayed the family name on top, the family was usually upper-middle class. Blocks on either side of the front door showed whether the family descended from warriors or scholars; round blocks symbolized a family of scholars, while rectangular blocks symbolized a family of warriors. If the house displayed a lion on top of the blocks, the family was of a higher social status and in turn sought out a potential suitor who resided in a similar home. The closer a family lived to the imperial palace, the higher their court rank was. Although modern societies no longer view housing as an important determinant for marriage, social positions and economic factors play a major role in the family's approval for marriage between two individuals.

In the southern part of China where many peasants and merchants lived, traditional Chinese families believed in the customary fortune-telling method of arranging a marriage. Before a southern Chinese marriage occurred, Chinese families would consult a shaman using bazi, or "eight characters," to calculate a person's life using birth time and gender. This concept of bazi derives from the Four Pillars of Destiny, in which shamans calculated one's potential destiny-the past, present, and future-using the person's birth year, month, day, and time along with his/her gender. The bazi determined compatibility between two people, predicting whether a couple's future would be stable or result in a disaster.

Usually families residing in the countryside would pressure their children to get married once they hit their early twenties; they took on the task of arranging marriages between young people who continued to be single. Parents began consulting a shaman to determine their child's future when the child turned 20 and continued working with the shaman every year until they found a match from the bazi. Families residing in cities would seldom adopt this practice and allowed their children to find a significant other on their own, though they also held socioeconomic status to be an important factor.

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Berkley Center for Religion, Peace and World Affairs

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Chinese marriage traditions have always varied throughout different parts of China. Marriage was not as simple as a man and a woman falling in love with each other. Although modern Chinese marriages focus more on love, traditional Chinese marriages tended to focus on economic and...

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Institutional Context Medical Practices- Ian Abreu

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Institutional Context Medical Practices- Ian Abreu

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This article talks about how the medical practices of China are considered incredibly different compared to the west due to the regional and rational dynamic of china

we can see within the film the difference of the medical institutions compared to the west with the family of main characters we focus on even acknowledging this themselves saying that the whole plot of not telling Nai Nai about her condition would not be possible in america

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This article helps you understand the economical differences between the American and Chinese economies. It shows the reasoning behind the way of life and difference in wealth in China that Billi experienced.

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The World's Biggest Economy: - America or China? - | World Economics

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There is some dispute over which of the two undisputed superpowers is the biggest. - - The Economist (for example) clearly thinks America remains king of the jungle. Its issue dated May 13th 2023 subheads a paper called Peak China with the unequivocal "The meteoric rise of Chinas economy is ending".

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The source goes trough the manny origins and roots that a arranged marriage along with wedding ceremonies in china 🇨🇳. IN the movie we see an example of the ranged marriages ad the negative effects it has on both parties

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JSTOR is a digital library of academic journals, books, and primary sources.

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The page talks about the average cost of living in New York. In the movie we could see how Billi at the beginning had difficulty paying the bills. So the article is talking about what it takes to live in New York.

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New York State has an average annual cost of living of almost $60,000, among the highest in the U.S. But some low-cost areas in the state can be found.

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This article speaks about the mourning period of the Chinese, going in depth about beliefs, rituals, and customs.

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Beliefs, rituals and customs around death and dying

Funeral traditions are observed strictly and not doing so is thought to bring bad luck on the family.

Before the funeral, the family may contact a feng shui master to choose an auspicious time for the funeral and burial, and where possible a suitable site for burial or scattering of ashes.

Funerals and other ceremonies

Chinese funeral traditions and practices vary greatly according to the family's religion, where their family origins are in China, the cause of death, and the age of the person who has died; a funeral for a child is likely to be very different to that of a grandparent or other older family member.

The funeral usually takes place over seven days and there may be a formal ceremony on the seventh night after the death.

The funeral starts with an event known as a shou ling. Family members take it in turns to sit with the person who has died. The person will be dressed in their best clothes or a traditional white robe; older people (aged over 80) may be dressed in red or brighter colours.

At the shou ling, mourners bring food, incense, joss paper and white envelopes containing money as offerings.

During the funeral service, the casket traditionally remains open. When the casket is closed, mourners will turn their back on it as it is believed that the spirit of anyone who sees the casket close will be trapped inside the coffin.

During the funeral service, grieving families may burn incense and joss paper. Joss paper is typically made of bamboo or rice paper made to look like money, however it can also be made into paper houses, cars and other objects that the person may need in the afterlife. Incense and joss paper may also be burned at subsequent visits to the grave.

During the funeral ceremony there may be chanting and prayers said which will vary according to the religion of the family (Taoist or Buddhist).

Funeral guests give the grieving family money either at the funeral or on the day preceding the funeral. Traditionally this is given in odd numbered amounts in a white envelope.

Cremation is common but it is not usual for ashes to be scattered, but rather they are split between family members or made into jewellery.

If the funeral is that of a child or baby, the ceremony is held in silence.

Length of and expectations around a mourning period

Traditionally, grieving families may wear white, black or plain clothing for a month. In less traditional families, grieving families typically wear black. Some close family members may wear a white flower accessory for the first seven days after the death, which could be a hairpin or an item tied to a handbag.

The period of mourning may vary between one month to three years depending on family origins in China and their relationship to the person who has died. Older generations may observe a traditional mourning period, called shǒusāng of one year or three years for a first-born son. During this period, they will limit their social activities and will not attend family occasions such as weddings and birthdays. Less traditional families, including their children, may stop going out for a few weeks to mark a period of mourning.

Young engaged couples will be expected to reschedule their wedding to at least a year after the death when a grandparent or a parent dies.

Ways of remembering someone who has died

Ching Ming is a traditional Chinese festival which takes place in April in which people clean the graves of their ancestors. Families may burn incense and joss papers at their relative's grave and bring food as a sign of reverence and respect.

Ask! We don't expect you to know the culture. Just ask sensitively if unsure.

Pia

Support organisations

Our grateful thanks for their input into this resource to:

Pia Clay, Child Bereavement UK

Visit our page: How we can support you for more on our services.

You can also call our Helpline 0800 02 888 40 , email , or use Live Chat on our website.

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charity bereavement child death grief loss baby stillbirth miscarriage suicide young people parents

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Beliefs, rituals and customs around death and dying Funeral traditions are observed strictly and not doing so is thought to bring bad luck on the family. Before the funeral, the family may contact a feng shui master to choose an auspicious time for the funeral and burial, and where possible a suitable site for burial or scattering of ashes. Funerals and other ceremonies Chinese funeral traditions and practices vary greatly according to the family’s religion, where their family origins are in China, the cause of death, and the age of the person who has died; a funeral for a child is likely to be very different to that of a grandparent or other older family member. The funeral usually takes place over seven days and there may be a formal ceremony on the seventh night after the death. The funeral starts with an event known as a shou ling. Family members take it in turns to sit with the person who has died. The person will be dressed in their best clothes or a traditional white robe; older people (aged over 80) may be dressed in red or brighter colours.  At the shou ling, mourners bring food, incense, joss paper and white envelopes containing money as offerings. During the funeral service, the casket traditionally remains open. When the casket is closed, mourners will turn their back on it as it is believed that the spirit of anyone who sees the casket close will be trapped inside the coffin. During the funeral service, grieving families may burn incense and joss paper. Joss paper is typically made of bamboo or rice paper made to look like money, however  it can also be made into paper houses, cars and other objects that the person may need in the afterlife. Incense and joss paper may also be burned at subsequent visits to the grave.  During the funeral ceremony there may be chanting and prayers said which will vary according to the religion of the family (Taoist or Buddhist). Funeral guests give the grieving family money either at the funeral or on the day preceding the funeral. Traditionally this is given in odd numbered amounts in a white envelope.  Cremation is common but it is not usual for ashes to be scattered, but rather they are split between family members or made into jewellery. If the funeral is that of a child or baby, the ceremony is held in silence. Length of and expectations around a mourning period Traditionally, grieving families may wear white, black or plain clothing for a month. In less traditional families, grieving families typically wear black. Some close family members may wear a white flower accessory for the first seven days after the death, which could be a hairpin or an item tied to a handbag. The period of mourning may vary between one month to three years depending on family origins in China and their relationship to the person who has died. Older generations may observe a traditional mourning period, called shǒusāng of one year or three years for a first-born son. During this period, they will limit their social activities and will not attend family occasions such as weddings and birthdays. Less traditional families, including their children, may stop going out for a few weeks to mark a period of mourning.  Young engaged couples will be expected to reschedule their wedding to at least a year after the death when a grandparent or a parent dies. Ways of remembering someone who has died Ching Ming is a traditional Chinese festival which takes place in April in which people clean the graves of their ancestors. Families may burn incense and joss papers at their relative’s grave and bring food as a sign of reverence and respect. Ask! We don’t expect you to know the culture. Just ask sensitively if unsure. Pia Support organisations Chinese Information and Advice Centre Our grateful thanks for their input into this resource to: Pia Clay, Child Bereavement UK Visit our page: How we can support you for more on our services. You can also call our Helpline 0800 02 888 40, email helpline@childbereavementuk.org, or use Live Chat on our website.

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This paper talks about the burial methods of the Dawenkou Culture. They're known for their elaborate graves with ceramics, jade, even pig heads, and lots of space.

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Access provided by LEHIGH VALLEY ACADEMY.

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This article depicts a more inside view in the making of The Farewell directed by Lulu Wang. The story was based on a real experience in Lulu Wang's life, where her grandmother was diagnosed with cancer and her family agreed to keep it a secret so she wouldn't worry. The shoot took 5 weeks and was filmed in Changchun, China, the same village where Wang's grandmother actually lived. This was a way for Wang to express the grief and emotions she felt having to lie to her own grandmother however, the real life Nai Nai survived another 6 years after only giving 3 months to live. The attention to detail in this film was immaculate being filmed in the very location the real Nai Nai roamed.

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Making of ‘The Farewell’: How Lulu Wang Captured Grief and Love With a Family Lie

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A five-week-long shoot in Changchun, China— complete with hoverboards, a banquet’s worth of crab and a surprise visit from 300 dancing kindergarteners— resulted in a headline-grabbing Sundance acquisition and an awards contender.

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this article talks about how long a funeral lasts and how mourining effects the family, the funeral usually last 3-4 days and there is 100 days after the death ceremonies.

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Chinese Funerals and Chinese Ethnicity in Chiang Mai, Thailand on JSTOR

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Ann Maxwell Hill, Chinese Funerals and Chinese Ethnicity in Chiang Mai, Thailand, Ethnology, Vol. 31, No. 4 (Oct., 1992), pp. 315-330

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This article connects with ¨farewell" because of the multigenerational concept. This is because of the fact that the younger generations grow up to take care of their elders. This can be better represented when Billi and her family all get together to spend time with the grandmother, since she has "cancer"and is dying.

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JSTOR is a digital library of academic journals, books, and primary sources.

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This website shows the cost of living in NYC. The site goes through the many expenses that you need to live there and costs associated with them.

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Average prices of more than 40 products and services in New York, NY, United StatesNov 2024. Prices of restaurants, food, transportation, utilities and housing are included.

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The book is about social exceptions and what the normal is for women that are in china in the republican era. You can Geta better understanding of what the traditional values and how much pressure there still is for Chinese families today. Just like in the movie the farewell the family deals with Nai Nai's illness and with their different family members.

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This article is about the intergenerational bonds among Chinese, Japanese, and Korean Americans showed the elder support, highlighting immigration and generational differences

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JSTOR is a digital library of academic journals, books, and primary sources.

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This article discusses how changes in the east Asian family dynamics

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JSTOR is a digital library of academic journals, books, and primary sources.

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Caring for Aging Chinese: Lessons Learned From the United States https://pmc.ncbi.nlm.nih.gov/articles/PMC2704564/

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The article discusses how aging in China is influenced by cultural and social context, including how farewell rituals and traditions shape the elderly experience. It shows how older people in China deal with family changes and what society expects from them.

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This article describes a ritual where family members perform a bathing ceremony on the dead which they place the body in a casket surrounded by flowers, candles, a photograph, and colored light to honour and remember the dead.

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Understand Chinese customs and funeral traditions. From ancient beliefs to modern funeral services, learn about honoring loved ones.

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This text talks about how traditional Chinese families were structured, especially before modern times. The ideas came from Confucian beliefs, which said that individuals should put their family and country before themselves. The author, a Western psychoanalyst, studies these family structures.

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JSTOR is a digital library of academic journals, books, and primary sources.

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The article talks about Chinese culture during funerals and how they mourn death. During funerals there is a complex set of practices, speeches, attire and objects that make up the funeral. They also have a wailing ritual where people there or hired people wail very loud in mourning of the people that died.

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Death and Ritual Wailing in Early China: Around the Funeral of Lao Dan on JSTOR

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ALBERT GALVANY, Death and Ritual Wailing in Early China: Around the Funeral of Lao Dan, Asia Major, THIRD SERIES, Vol. 25, No. 2 (2012), pp. 15-42

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In this text it talks about the economic shift China had. Originally central planning to a market economy. This change led to more urbanization and economic disparities. In the movie Billi's family that stayed in China benefitted from this growth while the ones who moved to New York were struggling financially.

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From 1978 and for three decades afterward, China moved from central planning and autarky to a market-oriented economy. Despite recent backsliding, it remains the world's largest trading nation.

The growth of the nonstate sector has been the driving force in China's development.

Marketization and opening to the outside world-not industrial policy or protectionism-allowed China to make better use of its resources and widened the range of choices open to people.

The post-1978 economic reform was a spontaneous, evolutionary process in which individuals lifted themselves out of poverty as opportunities for trade and entrepreneurship emerged.

China's desire to enter the World Trade Organization (WTO), which was realized in December 2001, was instrumental in invigorating the nonstate sector and laying the foundation for institutional reforms that increased competition and helped spur economic growth.

Although China has greatly benefited from marketization and trade liberalization, the country still lacks a free market for ideas and a genuine rule of law to protect persons and property. Under Xi Jinping, there has been a rise in state power, putting a drag on development and freedom.

China's journey from central planning under Mao Zedong to market-led development under Deng Xiaoping and beyond is complex. Yet one thing is clear: China could not have become the world's second-largest economy without allowing the market to play a decisive role in allocating resources and without integrating itself into the global trading system.

This essay examines China's transition from plan to market, with emphasis on the pre-Xi era, especially the early reforms. It also carefully examines the spread of marketization in China using the marketization index developed by Fan Gang and others.

Finally, it shows that, in addition to internal reforms that widened the use of markets, China's rapid development was driven by its opening to the outside world. It met strict conditions for joining the WTO and benefited from globalization, as did its trading partners.

China had no blueprint for its spectacular development but found that moving from plan to market, and taking into account the principle of comparative advantage, was a win-win situation. Yet there are many weaknesses in China's institutional architecture, especially the Chinese Communist Party's (CCP's) monopoly on power, the lack of an independent judiciary, and the absence of a genuine rule of law to safeguard fundamental rights.

Without a free market for ideas and limited government, China could drift back toward planning and control, putting a drag on market-led development. This is already happening under the rule of Xi Jinping. Turning inward and embracing industrial policy to prop up state-owned enterprises (SOEs) poses serious risks to the spontaneous order, harmony, and wealth creation that free markets and limited government would bring to society.

From Plan to Market: An Overview

China's rapid economic growth following its shift from state-led development (central planning) to marketization in 1978 and its drive to join the WTO are testaments to the idea that widening the range of choices open to people-via internal and external trade-is a winning strategy. Under Mao Zedong, protectionism and top-down planning led to a focus on developing heavy industry rather than improving people's lives by using the market price system to guide economic decisions. In 1970, Chinese real gross domestic product (GDP) stood at only $232 billion (measured in 2015 U.S. dollars). However, once widespread marketization took place and individuals had more opportunities to get rich, real GDP grew to nearly $16 trillion by 2019 (Figure 1).

Getting the Relationship Right between the State and the Market

In 2015, Premier Li Keqiang argued that if China is to reach its full potential, it must "get the relationship right between the government and the market." He recognized that doing so would mean boosting the "vitality of [the] market." The political problem, however, is that allowing a greater scope for the market means reducing the scope of government and diminishing the power of the CCP.

Markets are based on consent, not coercion. Under Mao Zedong, there was little freedom. Deng expanded freedom by allowing legal markets and nonstate enterprises to emerge along with more secure property rights. Today, China is far richer and freer than under Mao, but it is now turning back to some of the old ways under Xi Jinping.

Mao's Attack on Private Property and Free Markets

Under Mao Zedong, private property was outlawed, private entrepreneurs and landlords were treated as criminals, and Soviet-style central planning dominated economic life. In other words, the state monopolized the market.

China's second five-year plan, which launched Mao's Great Leap Forward (1958-1962), was designed to make China an industrial power. Instead, it destroyed agriculture and led to mass starvation as people's communes were established and resources were forcibly shifted from farming to heavy industry. In 1966, Mao initiated the "Cultural Revolution," a period of mass purges that lasted until his death in 1976.

During the Cultural Revolution, Red Guards randomly attacked anyone who might be seen as a "capitalist roader." Intellectuals were sent to the countryside along with all those who might pose a threat to the CCP's monopoly on power. Any deviation from party orthodoxy was deemed a thoughtcrime that could lead to imprisonment or worse. Children turned parents in to the thought police, and people were instructed to "strike hard against the slightest sign of private ownership," according to Jasper Becker in his book The Chinese (p. 157).

Deng Xiaoping's Quiet Revolution

The death of Mao in September 1976 paved the way for the rise of Deng Xiaoping as China's paramount leader in December 1978. Deng and his allies then began to open the door for a transition to a more market-oriented economic system. The CCP's primary focus became economic development rather than class struggle.

There was no blueprint for economic liberalization. As Cyril Zhiren Lin notes in Remaking the Economic Institutions of Socialism: China and Eastern Europe (p. 100), "The most distinctive aspect of the Chinese reforms is that they have proceeded without a detailed reform blueprint.... The result has been a process of open-ended reform unique among the centrally planned economies."

Deng Xiaoping took a pragmatic approach to reform. If open markets could help improve life for the Chinese people, then it made sense to try that option-even in a socialist state. His mindset was that "it doesn't matter if a cat is black or white, as long as it catches mice."

Central planning could not be eliminated overnight. There would be no flag-waving revolution, only a quiet step-by-step movement from plan to market. Experimentation and innovation led the way to rural development, with the emergence of the household responsibility system and the creation of township and village enterprises (TVEs), which in the 1980s were an important component of the emerging private sector. The establishment of special economic zones (SEZs) in the coastal areas and the growth of the nonstate sector paved the way for China to become a major player in global trade. The entrepreneurial spirit of the Chinese people, which had been suppressed under Mao, came to life.

Marketization and Private-Sector Development

The impetus for marketization came from those who were harmed the most under Mao's disastrous policies-namely, people in rural households who had been forced into communes and suffered from the Great Famine. Some farmers began to contract with local authorities to gain rights to lease land from the collective and sell produce in private markets once official quotas were met. As the informal contracting system gained popularity, it was eventually sanctioned by officials. In 1982, Deng recognized the new institutional arrangement and labeled it "the household production responsibility system," as Kate Xiao Zhou notes in How the Farmers Changed China: Power of the People (pp. 3-4).

The essence of the household responsibility system, as Zhou points out in her book, is that it arose spontaneously as farmers sought to gain autonomy in their everyday life and improve their standard of living. When farmers became richer, they began to create TVEs. While some of the TVEs were associated with collectives, the most dynamic ones were de facto privately owned.

According to Zhou (p. 4):

The dramatic increase in the role of private TVEs, and the important part they played in spurring economic development in China, is clearly examined by Yasheng Huang. In 1978, at the beginning of the reform movement, there were no legally registered private TVEs, but by 1985, there were 10 million. Moreover, Huang notes that, in poorer provinces, "it was private entrepreneurship, not government-run township and village enterprises, that contributed to the bulk of output production."

Deng and other officials did not anticipate the success of TVEs. He remarked in Fundamental Issues in Present-Day China (p. 189):

Under the dual-track price system, planned and market prices existed side by side. However, as individuals "jumped into the sea of private enterprise," the nonstate sector grew and market pricing spread. In October 1987, the CCP approved private enterprises at its 13th Party Congress, and the following year, the Constitution of the People's Republic of China was amended to give private businesses legal status.

Growing Out of the Plan

Top-down privatization was not the path to marketization in China. Rather, as Barry Naughton points out in Growing Out of the Plan: Chinese Economic Reform, 1978-1993 (pp. 8-9), China grew out of the plan by allowing development of the nonstate sector. In 1984, top officials agreed to keep planned output targets fixed along with resources allocated to the planned sector of the economy. Thus, as productivity in the market-oriented sector grew, the contribution of the plan to national output declined. In effect, the dual-track price system was seen as transitory.

If we look solely at the industrial sector, it is striking that in 1978, SOEs accounted for nearly 80 percent of gross industrial output, but by 2016, their share had declined to 20 percent (Figure 2). In China's 40 Years of Reform and Development: 1978-2018, Nicholas Lardy attributed that relative change to "the opening of the economic space available to private firms, the superior financial performance of private firms and the increased access of these firms to funds from banks and the domestic stock markets." However, he notes that SOEs continued to grow in absolute terms.

With rising inflation in 1988 and widespread discontent over corruption and the slow pace of political reform, mass protests erupted in Tiananmen Square during the spring of 1989. The authorities brutally ended the protests and placed Zhao Ziyang, a leading reformer and general secretary of the CCP, under house arrest. During his captivity, Zhao secretly recorded his memoirs, which were published abroad after his death. In Prisoner of the State (p. 270), he expressed what he could never say openly in China: "If a country wishes to modernize, not only should it implement a market economy, it must also adopt a parliamentary democracy as its political system." That means allowing "other political parties and a free press to exist." He recognized that China needed a genuine rule of law if it was to establish a normal market economy.

After Tiananmen, the reform movement stalled, and economic growth slowed until 1992, when Deng took his famous southern tour of the SEZs, which he helped establish in the early 1980s. During his visit to Shenzhen, he stated:

Deng's main message on his tour was that "it doesn't matter if policies are labeled socialist or capitalist, so long as they foster development," according to Barry Naughton in The Chinese Economy: Transitions and Growth (p. 99). Of course, Deng and his comrades never intended to create what Milton Friedman, in his 1980 visit to China, called "free private markets." The goal of the CCP has been to create a system of market socialism, not market liberalism. As Deng reminded people on his southern tour, "It is essential to adhere to the principle of 'one central task and two basic points.'" Building socialism is the central task, while the two basic points are implementing "the policies of reform" and "opening to the outside world."

A Socialist Market Economy

The overall goal of deepening the reform comprehensively is to improve and develop socialism with Chinese characteristics, and to promote the modernization of the national governance system and capacity. We must pay more attention to implementing systematic, integrated and coordinated reforms, promoting the development of [a] socialist market economy.

The committee advocated "centering on the decisive role of the market in allocating resources" and the importance of an "open economic system." Accordingly, it held that

Unfortunately, under Xi Jinping, China has failed to carry out the deepening of reforms and marketization goals of the Third Plenum. That should not be surprising, given the CCP's adherence to socialist principles and its desire to maintain its monopoly on power.

The following passages from the Constitution of the People's Republic of China make it clear that socialism remains the kingpin of the Chinese state:

Article 1: The socialist system is the basic system of the People's Republic of China. Disruption of the socialist system by any organization or individual is prohibited.

Article 7: The State-owned economy, namely, the socialist economy under ownership by the whole people, is the leading force in the national economy. The State ensures the consolidation and growth of the State-owned economy.

Article 51: Citizens of the People's Republic of China, in exercising their freedoms and rights, may not infringe upon the interests of the State, of society or of the collective, or upon the lawful freedoms and rights of other citizens.

Even though the constitution recognizes private property and other human rights, Article 51 makes it clear that fundamental human rights, which underpin a true market economy, are not inalienable, as they are under the U.S. Constitution. In China, all rights must be predicated to come from the state if the CCP is to retain its power and authority. In such a system, there will always be tension between state and market.

The Marketization Index

At the beginning of 1978, prior to the development of a market economy, most prices were still either guided or fixed by the state. However, by 1999, 95 percent of retail commodity prices, 83 percent of agricultural commodity prices, and 86 percent of producer goods prices were set by the market, not the plan, according to Lardy in Integrating China into the Global Economy (pp. 24-25).

Although China has made significant progress toward moving from plan to market, much remains to be done. In particular, as Wu Jinglian, one of China's leading reformers, remarked in 2005 upon being honored for his role in China's marketization: "Only by matching the rule of law with the market economy can we achieve total success."

To measure the degree of marketization over time, the National Economic Research Institute has developed a marketization index based on five broad categories: (1) government-market relations; (2) development of the nonstate enterprise sector; (3) development of the commodity market; (4) development of factor markets; and (5) intermediate legal framework. Various indicators are then used to rank each of China's 31 provinces (including five autonomous regions and three municipalities under central administration). The province with the most progress toward marketization receives a score of 10, while the province with the least amount of marketization receives a 0. Coastal areas, such as Shanghai, Guangdong, and Zhejiang, are highly marketized relative to less-developed areas.

Figure 3 shows that the trend of marketization has been positive, with the average score for marketization going from 3.78 in 1997 to 4.48 in 2001 and 7.06 in 2007. The 2008 global financial crisis reduced progress on marketization, and the index did not exceed 7.06 until 2013. In 2019, the index stood slightly higher at 8.19. What this tells us is that on a number of fronts China has made significant steps toward a market-oriented economy. However, one should not view the National Economic Research Institute marketization index as telling us how close China is to achieving some ideal free-market system. Rather, it is a relative measure that gives us some idea of how well marketization is progressing.

In sum, since China's opening and reform movement began in 1978, there has been significant progress toward moving to a market-oriented economy. Marketization and economic growth went hand in hand. While China has developed a socialist market system, it has allowed a variety of nonstate ownership forms to evolve, including private enterprises, foreign-funded enterprises, and shareholding companies. Indeed, the private/​nonstate sector has been the dynamic element in providing individuals with a chance to break the chains of poverty and become prosperous. In this sense, China has a soft socialism, not the hard state socialism that existed under Mao when private property and free markets were outlawed.

China's Accession to the WTO

While China developed its internal trade, it also began to open to the outside world. Under central planning, the state had a monopoly on trading rights. Only a handful of SOEs were awarded foreign trading rights. In effect, China was isolated from the international economy. However, beginning in 1980, SEZs were established in the coastal areas and given preferential treatment. In August 1980, SEZs were set up in Shenzhen, Zhuhai, Shantou, and Xiamen. From 1985 to 1990, those four SEZs saw the gross value of industrial output go from RMB 5.5 billion to RMB 49.5 billion. In May 1984, SEZs were established in 14 other coastal cities, including Shanghai, Wenzhou, and Guangzhou, according to Wu Jinglian in Understanding and Interpreting Chinese Economic Reform (pp. 296-97). The success of these open economic areas led policymakers to create many more zones to encourage marketization on an international level.

From Autarky to Engagement

Nonstate enterprises were the driving force in foreign trade. As trading rights were extended, the number of domestic firms engaged in foreign trade increased from 12 in 1978 to more than 5,000 a decade later. By 2001, when China joined the WTO, the number of domestic firms engaged in foreign trade reached 35,000, according to Integrating China into the Global Economy (p. 41). China's trade-to-GDP ratio climbed as tariffs and nontariff barriers declined in the run-up to joining the WTO. After accession, the general tariff level fell to 9.8 percent in 2007, compared with 16.4 percent in 2000, according to China's 40 Years of Reform and Development: 1978-2018 (p. 35). Marketization reached new levels, and the foreign trade share of GDP accelerated (Figure 4). Today, China is the world's largest trading nation.

Prior to joining the WTO, China unilaterally liberalized its foreign-trade sector. Domestic prices became more market oriented as firms were subject to foreign competition and the international price system. Resources were more efficiently allocated, and more open markets meant the Chinese people could benefit from both greater consumption opportunities as well as the exchange of knowledge.

Those benefits were a far cry from the autarky that existed during Mao's reign. Under central planning, the principle of comparative advantage was ignored in favor of imposing planners' preference for developing heavy industry at a very high opportunity cost. As Zhao Ziyang noted in Prisoner of the State (p. 137):

It was China's opening to the outside world-not protectionism and industrial policy-that propelled economic development. As Lardy noted in China's 40 Years of Reform and Development: 1978-2018 (pp. 335-36), it was only in 2003 that China formally established the State-Owned Assets Supervision and Administration Commission (SASAC) and tasked it with overseeing about 200 of China's largest firms and turning them into "national champions." In 2006, SASAC identified a number of "strategic and pillar industries" in the manufacturing sector and hoped industrial policy would spur their growth. However, success was limited: the SOE share of manufacturing output and investment fell, while that of private firms continued to increase. Thus, Lardy concluded that, although "the state has sought a more direct role in promoting economic development, it almost certainly should be judged a failure."

Premier Zhu Rongji supported China's accession to the WTO. His chief negotiator, Long Yongtu, made a strong case in July 2000 in the People's Daily for trade liberalization as a key force for China's future development:

China's internal price liberalization and its relaxation of foreign trade restrictions, which began in the 1990s, paved the way for domestic prices of tradable goods to reflect global prices. Indeed, as early as 1992, "the domestic market prices of more than 95 percent of all imported goods were based on international prices," Lardy says in Integrating China into the Global Economy (p. 24).

Although much progress has been made in integrating China into the global economy, much remains to be done. The lack of an independent judiciary, overreliance on SOEs (which are about 20 percent less productive than private-sector actors per the International Monetary Fund), financial repression, and abusive practices (such as cyberhacking into commercial networks and repression of free speech) threaten future progress.

China Needs a Free Market in Ideas

After more than 40 years of uneven opening up to the outside world, China still ranks near the bottom in terms of freedom of the press. In the 2023 World Press Freedom Index, China ranks 179th out of 180 countries; only North Korea is lower. The value of free speech is that it allows people to improve institutions by pointing out weaknesses, which can then lead to improvements. As Eswar Prasad recognizes in Gaining Currency: The Rise of the Renminbi (p. 156), "Transparency of public institutions, the right to free expression, and an unfettered media are all necessary for building confidence. They do this not by emphasizing strengths, but by making weaknesses and faults in the system obvious."

The main lesson for China's future development is clear, according to Ronald Coase and Ning Wang in How China Became Capitalist (p. 207): "When the market for goods and the market for ideas are together in full swing, each supporting, augmenting and strengthening the other, human creativity and happiness stand the best chance to prevail."

Conclusion

Industrial policy and central planning under Mao Zedong proved to be a massive failure; they did not bring about sustainable economic growth or wide-spread prosperity. In 1978, Deng Xiaoping recognized the failure of state-led development and gradually reversed course in making the transition from plan to market, as Lardy in Markets Over Mao: The Rise of Private Business in China and Dorn in Economic Freedom and Prosperity: The Origins and Maintenance of Liberalization (chapter 9) point out.

The reform movement began with actions by farmers to gain rights to collectively owned land and to sell excess produce in the private markets. TVEs emerged spontaneously as farmers sought to increase their wealth by starting small businesses.

The foreign-trade sector expanded as China opened to the outside world and established SEZs in coastal areas. Nonstate enterprises, especially private firms, became the dynamic force in promoting economic growth. While there was no blueprint for the household responsibility system or TVEs, the government had a more visible hand in the creation of SEZs.

China became an economic powerhouse by opening its markets, recognizing the nonstate sector, and allowing individuals to lift themselves out of poverty. Attempts at industrial policy under the SASAC failed. The lesson for China is to continue on the path of marketization and liberalization, not to revert to destructive state control and repression.

China can learn from its own history as well as from the West that economic and social harmony cannot be imposed from above. The challenge is to allow a free market for ideas as well as for trade in goods and services by institutional reform that protects both economic and personal freedom.

The World Factory: Production and Trade Along Global Supply Chains

By Alfredo Carrillo Obregon

Understanding Global Migration

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China's Post-1978 Economic Development and Entry into the Global Trading System

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China had no blueprint for its spectacular development but found that moving from plan to market, and taking into account the principle of comparative advantage, was a win‐​win situation.

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The article discusses the crackdown of China on the card game "throwing eggs" (Guandan), which has been accused of promoting decadence and idleness among the youth. Such a mindset underlines the country's attitudes toward the preservation of traditional values, including hard work and discipline, as well as toward control of leisure that is viewed as undermining these values.

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‘Decadent and passive’: China cracks down on ‘throwing eggs’ card game

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Craze for the four-player game known as guandan may lead to the formation of cliques, Communist party warns

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Traditional Chinese values, like filial piety, collectivism, and respect for hierarchy, still pervade and shape social expectations, even among the younger generations. There is modernity, but the ancient value is still emphasized in harmony in the society, controlled by the government through regulating leisure activities and behaviors in terms of itself.

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The Effects of Traditional Concepts on Personal Values Among University Students in China

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It is widely agreed that China is experiencing a substantial transition toward modernization. However, both business behavior and day-to-day life in China are still greatly influenced and regulated by the traditional culture that has been embedded…

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https://www.nationmaster.com/country-info/compare/Turkey/United-States/Economy

This link shows the difference between American and Turkish economy. The Turkish economy is in a very bad spot as it’s been steadily declining for the past few years, American economy isn’t no where near as bad but still isn’t in a great state. This shows how different the living standards in these two countries might be. It looks a lot more difficult to live in a Turkish economy then American because a bag of chips is 6 dollars.

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Turkey vs United States: Economy Facts and Stats

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-, GDP per capita, GDP, Population below poverty line, Gross National Income and 393 More Interesting Facts and Stats

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China is an exciting mix of tradition.

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This speaks to the Chinese that in the Chinese family they will find a mix of traditional beliefs that date back centuries and more modern attitudes that reflect Western ideas.

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In the Chinese American family you will find a mixture of traditional beliefs that date back centuries, and more modern attitudes that reflect western

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the film delves into the concept of "good lies" and the moral quandaries they present. Through its nuanced portrayal of intergenerational relationships, "The Farewell" offers a touching examination of cultural identity and the universal struggle to protect loved ones. this explains what and how and who has relationships and how they are important to one another

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'The Farewell' True Story_ Lulu Wang's Real Family Struggle with Cultural Expectations

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Care for others in the family comes from one of the basic virtues in Confucianism, taking care of your parents as they took care of you. The concept of filial piety forms the basis for all other relationships—ruler to subject, parent to child, husband to wife, older to younger, and friend to friend. These are the five hierarchical Confucian relationships in which the older ones are responsible for the care of the younger ones. In turn the younger ones are to submit and obey those who are older. this article is saying that you should always care for someone no matter what age and they had a connection in the movie by supporting each other and being there for one another.

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ChinaSource _ Chinese vs American Family

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this article is talking about the chinese health care system. its also speaking about how differently they see health care . they see medicine as a esential last resort option to save the life. they also intend to wait the last resort to let the body react appropriately

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G. A. Starr, Defoe and China, Eighteenth-Century Studies, Vol. 43, No. 4 (SUMMER 2010), pp. 435-454

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Billi was born in China, but when we meet her she lives in New York, not far from her parents, who speak English at home. She’s played by Nora Lum, also known as Awkwafina, who had to learn Chinese for the role. Her pronunciation is often endearingly bad. It’s never a plot point; Billi, based on Wang, who is relatively fluent supposed to be bad at Chinese. So Billi’s relatives and other various characters can somewhat miraculously always understand her, but there are moments where you can hear Billi translate her thoughts out loud. “Cousin,” she says mid-sentence, pausing when explaining to the hotel clerk why she’s visiting from America. “Tang di,” Billi remembers, and carries on with what she was saying. (To be fair, there are eight different context-specific ways to say “cousin” in Chinese.) Later, when she’s making a speech at her cousin’s wedding, she apologizes for her heavily accented Chinese and mutters “thank you” in English when an unseen man encourages her.

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This article talks about the differences between how the East and West approach dying and taking care of our elderly.

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East Asian Attitudes toward Death— A Search for the Ways to Help East Asian Elderly Dying in Contemporary America

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The art of dying well has been a quintessential subject of ethicoreligious matters among the people in the West and the East. Most of us wish to die at home; however, about 50% of Americans die in acute care hospitals. Furthermore, immigrants from…

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This article talks about how critical it is in China for the family to step up and take care of their elderly. The healthcare system even explains their system is created around the family caretakers.

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Caregiving in Asia: Priority areas for research, policy, and practice to support family caregivers

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Population aging presents a growing societal challenge and imposes a heavy burden on the healthcare system in many Asian countries. Given the limited availability of formal long‐term care (LTC) facilities and personnel, family caregivers play a…