After bridging the central leader group with the potential targets of mobilisation, the activists move into the stage of amplification, i.e. the idealisation and embellishment of existing values or beliefs, especially as refutation of the counter-framing. As the instant response to the student demonstration in 1989, the People’s Daily, the mouthpiece of the Party, labelled the movement as upheaval, counterrevolutionary, and a violation of the constitution. Meanwhile, due to the activists’ status as students, which results in lower perceived credibility of frame articulator (Benford and Snow 2000), their concerns were also at risk of being accused by the citizens as “immature whining of impetuous youth” (Zuo and Benford 1995). To deny the two
…show more content…
Living in the same society and cultural environment with the students, the citizens were also equipped with the metaphorical “tool kit”, i.e. cultural material, including extant meanings, beliefs and ideas (Benford and Snow 2000), to interpret the students’ commitment according to Chinese values of community devotion and self-sacrifice.
The vocabularies against the Umbrella Movement, used by from the CCP authority and the public on the opposition, bore many resemblances with the case of Tiananmen protest, with the employment of similar descriptions, like both movements were defined as turmoil instigated by a handful of people and induced by hostile foreign forces, counter-intuitive to the spirit of law, …show more content…
the aforementioned the second tier of the Tiananmen Movement, and the out-group of the Umbrella Movement. The extension of frames is achieved through political theatre proposed by Esherick and Wasserstorm (1992), referring to the cultural performance, enacted in the public sphere, which functions as both a part of action, applying pressure to the government, and a part of framing, influencing the perspectives of the mass audience. It is also on the political theatre that the previous amplified narratives could be further disseminated to the commoners. The political performance in 1989 was set in Tiananmen Square, which represents the symbolic power, and on the later phase, transformed to be the symbol of justice, a source of strength and spirit among the masses (Guthrie 1995); on the other hand, Tiananmen Square situated at the centre of the capital, could easily attract public attention, and thus, the performances and its framed messages could be received by the ordinary citizens, who at the outset did not have access to the inter-university communications. The incident of guijian (meaning kneeling down to present petitions) stands out to be an excellent political performance, continuing to present students’ stick to the traditional cultural values. On the
Living in the same society and cultural environment with the students, the citizens were also equipped with the metaphorical “tool kit”, i.e. cultural material, including extant meanings, beliefs and ideas (Benford and Snow 2000), to interpret the students’ commitment according to Chinese values of community devotion and self-sacrifice.
The vocabularies against the Umbrella Movement, used by from the CCP authority and the public on the opposition, bore many resemblances with the case of Tiananmen protest, with the employment of similar descriptions, like both movements were defined as turmoil instigated by a handful of people and induced by hostile foreign forces, counter-intuitive to the spirit of law, …show more content…
the aforementioned the second tier of the Tiananmen Movement, and the out-group of the Umbrella Movement. The extension of frames is achieved through political theatre proposed by Esherick and Wasserstorm (1992), referring to the cultural performance, enacted in the public sphere, which functions as both a part of action, applying pressure to the government, and a part of framing, influencing the perspectives of the mass audience. It is also on the political theatre that the previous amplified narratives could be further disseminated to the commoners. The political performance in 1989 was set in Tiananmen Square, which represents the symbolic power, and on the later phase, transformed to be the symbol of justice, a source of strength and spirit among the masses (Guthrie 1995); on the other hand, Tiananmen Square situated at the centre of the capital, could easily attract public attention, and thus, the performances and its framed messages could be received by the ordinary citizens, who at the outset did not have access to the inter-university communications. The incident of guijian (meaning kneeling down to present petitions) stands out to be an excellent political performance, continuing to present students’ stick to the traditional cultural values. On the