Chinese Soft Power Propaganda Network against Tibet
Key Themes in Chinese Propaganda on Tibet
1. Historical Claims and Territorial Integrity: The Chinese government emphasizes that Tibet has been an integral part of China for centuries, asserting historical claims to justify its sovereignty over the region. Television series and documentaries often depict Tibet’s integration into China as a harmonious and beneficial union.
2. Economic Development and Modernization: Chinese media frequently highlights the economic development and modernization efforts in Tibet, portraying the CCP as the benefactor responsible for improving living standards and infrastructure in the region. This narrative emphasizes advancements in education, healthcare, and economic opportunities provided by the Chinese government.
3. Cultural Preservation and Promotion: While promoting the preservation of Tibetan culture, Chinese propaganda often presents a sanitized and state-approved version of Tibetan traditions and religious practices. This narrative downplays or ignores restrictions on religious freedom and cultural expression imposed by Chinese authorities.
4. Stability and Unity: Chinese media underscores the importance of stability and unity in Tibet, depicting any form of dissent or protest as disruptive and harmful. This theme aims to legitimize the Chinese government’s strict security measures and policies in the region.
5. Counter-Narratives to International Criticism: In response to international criticism regarding human rights abuses and cultural repression in Tibet, Chinese propaganda seeks to counter these allegations by showcasing content that portrays a peaceful, prosperous, and contented Tibetan society under Chinese rule.
Films set in Tibet are used to promote the CCP’s vision of ethnic unity and the benefits of Chinese policies in the region. Examples of propaganda in this context include:
This film presents a narrative that justifies China’s presence in Tibet by portraying the old Tibetan society as a feudal, oppressive system where serfs were exploited by the ruling class. The movie depicts the Chinese Communist Party as liberators who brought freedom and prosperity to the Tibetan people, reinforcing the official Chinese narrative of liberating Tibet from a backward and repressive system.
This historical drama set during the British invasion of Tibet in 1904 portrays Tibetans and Han Chinese joining forces to resist foreign aggression. The film emphasizes themes of unity between Tibetans and Chinese, suggesting that Tibet is an integral part of China. It downplays Tibetan autonomy and presents the Chinese as protectors of Tibet against Western imperialism.
This film depicts Tibet as a land shrouded in mystery and superstition, emphasizing the need for Chinese intervention to bring progress and modernity to the region. The portrayal of Tibetan Buddhism is often negative, showing it as a tool of oppression, reinforcing the narrative that Chinese control has modernized and improved Tibet.
While this is a Hollywood film, it was banned in China for its sympathetic portrayal of Tibet and the Dalai Lama. In response, Chinese state media criticized the film heavily, claiming it distorted history and glorified Tibetan feudalism, further reinforcing the Chinese government’s narrative that such depictions are misleading and politically motivated.
This film, while more of an adventure story, contains elements of propaganda by subtly promoting the idea of a unified China, including Tibet, under Chinese governance. The film highlights the journey of a young boy across various regions of China, including Tibet, and portrays Tibetan characters as supportive of Chinese rule.
This film tells the story of two Tibetan boys who find their way in life through education provided by the Chinese government. It portrays Chinese intervention as beneficial, emphasizing the opportunities provided by the state while ignoring issues of cultural suppression and the resistance to Chinese rule in Tibet.
The film traces the changes in Tibet from the 1950s to the 1970s, presenting the Chinese government’s policies as modernizing and liberating for Tibetans. It depicts the older Tibetan society as deeply flawed and unjust, and it reinforces the narrative that Chinese governance brought progress and development to Tibet, glossing over the resistance and cultural erosion faced by Tibetans.
The story of a serf-born Tibetan being showcased in Chinese media is another clear example of propaganda designed to glorify the Chinese Communist Party’s (CCP) narrative about Tibet. These stories often depict Tibetans who were born into serfdom as oppressed and impoverished until the arrival of the Chinese liberators. The narrative typically follows their transformation from a life of hardship under the so-called feudal Tibetan system to one of prosperity and happiness under CCP rule.
In these portrayals, the CCP is depicted as the benevolent force that saved the Tibetan people from their own culture and traditions, which are described as backward and cruel. The serf-born protagonist is often shown as eternally grateful to the Party, embracing their new life with enthusiasm. The narrative is crafted to reinforce the idea that Tibetans owe their freedom and well-being to the CCP, while conveniently ignoring the suppression of Tibetan culture, religion, and identity that has occurred under Chinese rule.
Such stories serve to legitimize the CCP’s control over Tibet and to diminish the region’s unique cultural and religious heritage. They are carefully constructed to promote a singular, sanitized version of history that aligns with the CCP’s political goals, further entrenching the controversial and one-sided narrative of Tibet’s liberation.
It is a 32-episode TV series that was promoted as an authentic Tibetan production, co-produced by Henan Radio and Television, Tibet Radio and Television, and CCTV. While it has become the most-watched TV series of 2023 in China, its portrayal of Tibet and its people has sparked controversy. The series presents Tibetans as backward and unhappy until the arrival of Chinese liberators, including Han Chinese soldiers, cadres, and students who are depicted as selfless heroes. The concept of the old Tibetan spirit is central to the narrative but is distorted to align with the CCP’s agenda, portraying Tibetans as fundamentally Chinese and erasing the true essence of Tibetan culture, which is deeply rooted in Buddhism and traditional practices.
The series paints a harmonious picture of cooperation between Han Chinese and Tibetans, leading to the modernization and prosperity of Qiangga Village. However, this narrative glosses over the harsh realities of Tibet’s history and culture under Chinese rule. Despite its stunning visuals and strong performances, Where Snow Lotus Blooms is ultimately another piece of CCP propaganda, reinforcing the party’s narrative and downplaying the true Tibetan spirit.
These films, series and documentaries, produced or endorsed by the Chinese government, are designed to promote the narrative that Tibet is an integral part of China and that Chinese intervention has been positive for the region, often downplaying or ignoring the more controversial aspects of China’s rule in Tibet.
The pressure from China isn’t limited to content; it extends to individuals as well as discussed previously. Lady Gaga and Keanu Reeves and many other artists have faced bans due to their support for Tibet or participation in events critical of the Chinese government’s treatment of Tibet.
iQIYI, one of the world’s largest online video platforms, is a Chinese streaming service owned by Baidu that has been deeply intertwined with the political and cultural agendas of the Chinese government. The platform, which streams a wide array of content, including films, TV series, and original productions, has been criticized for its bias and use as a tool for propaganda. This is particularly evident in its relationship with Taiwan and its stance on sensitive political issues. For instance, iQIYI has been banned in Taiwan since 2020 due to concerns over its involvement in united front activities, reflecting its alignment with China’s political goals. Additionally, iQIYI’s Netflix deal in 2017 allowed for some Netflix original productions to be streamed in China, but this partnership was overshadowed by the platform’s censorship and content control.
In May 2022, iQIYI demonstrated its political alignment by removing all movies featuring Keanu Reeves after the actor participated in an event linked to the Dalai Lama, illustrating the platform’s willingness to suppress content that contradicts the Chinese government’s narrative. These actions underscore iQIYI’s role as a vehicle for promoting the Chinese government’s interests, often at the expense of free expression and unbiased content dissemination.
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