Through computational-assisted analysis of the Weibo corpus of the Chinese Communist Youth League (CYL) spanning from 2013 to 2020, this paper unveils the strategic utilization of fandom culture by the CYL, the youth wing of the ruling party, in its nationalistic propaganda on the internet. Specifically, the CYL deliberately associates with the pop idols of the younger generation on Weibo, harnessing their influence to promote nationalistic content that encompasses both “pride-oriented” and “hostility-oriented” themes. Subsequent analysis reveals a greater propensity for nationalistic content to generate audience response compared to other types of content, particularly when endorsed by these pop idols. This research enriches our understanding of the CYL's propaganda efforts and contributes to the burgeoning scholarship on “soft propaganda” in China.

Red Guard newspapers and pamphlets (wenge xiaobao) were a key source for early research on the Cultural Revolution, but they have rarely been analysed in their own right. How did these publications regard their status and function within the larger information ecosystem of the People's Republic, and what is their role in the history of the modern Chinese public sphere? This article focuses on a particular subset of Red Guard papers, namely those published by radical groups within the PRC's press and publication system. These newspapers critiqued the pre-Cultural Revolution press and reflected upon the possible futures of a new, revolutionary Chinese press. Short-lived as these experiments were, they constitute a test case to re-examine the functioning of the public in a decidedly “uncivil” polity. Ultimately, they point to the ambiguous potential of the public for both consensus and conflict, liberation and repression, which characterizes the press in 20th-century China.

Music plays an important role in both the right-wing extremist and the Salafi jihadist scenes as a unifying and radicalizing factor. It is used to share propaganda and highlight specific ideologies. Music is disseminated by various means, e.g. via social media, and used strategically to attract potential new members. The aims of right-wing extremist music and the Salafi jihadist nasheeds are, among other things, to inspire the youth, reach out to a worldwide audience of potential sympathizers, and disseminate their absolutist worldview. To achieve these goals, seemingly objective depictions of negative everyday experiences, of oppression, and the need for resistance are utilized. The songs are usually associated with violent content, and in conjunction with videos, they illustrate the perceived need to defend oneself. In this article, we will take a closer look at the content of four selected extremist songs. Our analysis of the content is based on a triangulation of sequential text analysis methods and identifies the differences and comparable elements of the ideologies in a final step. In addition to the content, the research aims to examine the possible effects of extremist groups’ music.