loading . . . Why Chinese propaganda used space babies Head over to https://eightsleep.yt.link/Y2PZCkV to get $350 off your very own Pod 5 Ultra. The best part is that you still get 30 days to try it at home and return it if you donât like it - but I am confident you will keep it. Trust me, your body will thank you for this investment in better sleep. Shipping to many countries worldwide. See details at https://eightsleep.yt.link/Y2PZCkV Sources for the video are here: https://www.patreon.com/posts/136110412 Find me elsewhere: Instagram: https://www.instagram.com/philedwardsinc/ Twitter: https://twitter.com/philedwardsinc Patreon: https://www.patreon.com/philedwardsinc Some music by the inimitable Tom Fox via Chromatic: https://tfbeats.com/ Where I get some music (Free trial affiliate link): https://share.epidemicsound.com/olkrqv My camera, as of February 2022 (affiliate link): https://amzn.to/3HDcWVz My main lens: https://amzn.to/3IteXEK My main light: https://amzn.to/3pjO0M8 My main light accessory: https://amzn.to/3M6eL0j Chinaâs âspace babyâ propaganda posters are a unique fusion of Cold War space race imagery, traditional Chinese mythology, and Mao-era political messaging. Emerging in the wake of the Soviet Unionâs Sputnik launch in 1957, these posters combined symbols like the Moon Palace, the Jade Rabbit, peaches of longevity, and chubby, smiling children with rockets and satellites to inspire pride in Chinaâs nascent space program. While Soviet realist art influenced some designs, the Chinese Communist Party also drew from centuries-old folk art traditions like New Year woodblock printsâbrightly colored, shading-free images often featuring childrenâto make space exploration a culturally resonant metaphor for progress and prosperity. These works werenât just about science; they were political tools designed to project strength, unity, and a vision of Chinaâs cosmic destiny. During the Great Leap Forward (1958â1962) and Cultural Revolution (1966â1976), propaganda often focused on industry, agriculture, and loyalty to Mao, but the launch of Chinaâs first satellite, Dong Fang Hong 1, in 1970 marked a shift. The satelliteâs only function was to broadcast the revolutionary anthem âThe East is Red,â underscoring that technological milestones were as much about ideological victory as engineering. In the late 1970s and 1980s, space baby imagery flourished, mixing fantastical elementsâmythic goddesses, celestial palacesâwith modern rockets. Artists depicted boys and girls gazing at spacecraft, though boys were often shown in the active role, reflecting subtle gender narratives. These posters became a visual shorthand for Chinaâs ambition, blending statecraft, folklore, and aspirational modernity into a single icon. By 2003, when China became the third nation to send a human into space, the âspace babyâ motif still echoed in the cultural imagination. The Shenzhou 5 mission, like the posters before it, was as much a political statement as a scientific oneâhuman spaceflight serving as a symbol of national prestige and technological parity with the worldâs superpowers. The space babies and astronauts alike embodied Chinaâs narrative of progress: from ancient legends to Cold War rivalry, from woodblock prints to televised rocket launches. Seen in the broader arc of Chinese propaganda history, space baby posters reveal the Partyâs ability to adapt traditional symbols for modern ideological campaignsâturning chubby infants into messengers of cosmic ambition and political resolve. https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D9SbUoYJY9oM&data=05%7C02%7CGKulacki%40ucs.org%7C45353468c5594489114708ddd82b0e3c%7Cbce4175b6c964b4daf750f1bcd246677%7C0%7C0%7C638904401635269927%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=AyLFgvelt7MZCW2wHAPEfwnEiifVHQcIPEjwndCQxbI%3D&reserved=0