Elizabeth Ingleson explores the roots of bilateral trade between the United States and China. Telling the story of the 1970s US activists and entrepreneurs who pressed for access to China's vast labor market, Ingleson shows how not just Chinese reform but also US deindustrialization fueled a dramatic, unanticipated shift in global capitalism.

As China has evolved into an industrial powerhouse over the past two decades, a new class of workers has developed: the dagongmei, or working girls. The dagongmei are women in their late teens and early twenties who move from rural areas to urban centers to work in factories. Because of state laws dictating that those born in the countryside cannot permanently leave their villages, and familial pressure for young women to marry by their late twenties, the dagongmei are transient labor. They undertake physically exhausting work in urban factories for an average of four or five years before returning home. The young women are not coerced to work in the factories; they know about the twelve-hour shifts and the hardships of industrial labor. Yet they are still eager to leave home. Made in China is a compelling look at the lives of these women, workers caught between the competing demands of global capitalism, the socialist state, and the patriarchal family. Pun Ngai conducted ethnographic work at an electronics factory in southern China’s Guangdong province, in the Shenzhen special economic zone where foreign-owned factories are proliferating. For eight months she slept in the employee dormitories and worked on the shop floor alongside the women whose lives she chronicles. Pun illuminates the workers’ perspectives and experiences, describing the lure of consumer desire and especially the minutiae of factory life. She looks at acts of resistance and transgression in the workplace, positing that the chronic pains—such as backaches and headaches—that many of the women experience are as indicative of resistance to oppressive working conditions as they are of defeat. Pun suggests that a silent social revolution is underway in China and that these young migrant workers are its agents.

Is a global conflict involving China inevitable? Terrance Thomas lived in China for nine years. During that time, he experienced the fear of living under an authoritarian regime. Three years of Terrance's time in China were spent in the naval city of Sanya. Terrance saw the Chinese military prepare for a war every day for three years. From aerial operations to arm China's illegally built islands in the South China Sea to the deployments of China's Type 094 ballistic missile submarines, Terrance saw China preparing for a New World Order with his own eyes. Terrance was even present in 2019 for the commission of China's Type 002 aircraft carrier, the Shandong. Terrance recorded much of the activity he saw while in China and interviewed countless people around Asia to comprehensively assess China's intentions for the world. Terrance also has prepared an in-depth analysis of the possible pathways to peace. The author also highlights several disturbing facts about China's increase in its military capabilities and why that is a threat to America and its allies. This book stresses the need to maintain and expand U.S. military strength in Asia while forging closer ties with like-minded allies worldwide. Terrance was not on the outside looking in, he was there, and this book was written from within China.

Can an American family live without Chinese-made goods? “A wry look at the ingenuity it takes to shun the planet’s fastest-growing economy.” —Bloomberg News “Journalist Bongiorni, on a post-Christmas day mired deep in plastic toys and electronics equipment, makes up her mind to live for a year without buying any products made in China, a decision spurred less by notions of idealism or fair trade—though she does note troubling statistics on job loss and trade deficits—than simply ‘to see if it can be done.’ In this more personal vein, Bongiorni tells often funny, occasionally humiliating stories centering around her difficulty procuring sneakers, sunglasses, DVD players and toys for two young children and a skeptical husband . . . Bongiorni is a graceful, self-deprecating writer, and her comic adventures in self-imposed inconvenience cast an interesting sideways glance at the personal effects of globalism.” —Publishers Weekly

"“Chinese people should consume Chinese products!” This slogan was the catchphrase of a movement in early twentieth-century China that sought to link consumption and nationalism by instilling a concept of China as a modern “nation” with its own “national products.” From fashions in clothing to food additives, from museums to department stores, from product fairs to advertising, this movement influenced all aspects of China’s burgeoning consumer culture. Anti-imperialist boycotts, commemorations of national humiliations, exhibitions of Chinese products, the vilification of treasonous consumers, and the promotion of Chinese captains of industry helped enforce nationalistic consumption and spread the message—patriotic Chinese bought goods made of Chinese materials by Chinese workers in factories owned and run by Chinese. In China Made, Karl Gerth argues that two key forces shaping the modern world—nationalism and consumerism—developed in tandem in China. Early in the twentieth century, nationalism branded every commodity as either “Chinese” or “foreign,” and consumer culture became the place where the notion of nationality was articulated, institutionalized, and practiced. Based on Chinese, Japanese, and English-language archives, magazines, newspapers, and books, this first exploration of the historical ties between nationalism and consumerism reinterprets fundamental aspects of modern Chinese history and suggests ways of discerning such ties in all modern nations."

Chinese Pictures: Notes on Photographs Made in China by Isabella L. Bird is a captivating work first published in 1900. This book offers a unique glimpse into late 19th-century China through the lens of Bird's personal experiences and observations. Known for her travel writing and keen eye for detail, Bird combines her descriptive prose with a collection of photographs she took during her travels. In Chinese Pictures, Bird presents a series of vivid and evocative snapshots that capture the landscapes, people, and cultural practices of China. Her notes and reflections accompany these photographs, providing context and insight into the scenes depicted. Bird’s writing is characterized by its engaging narrative and insightful commentary, reflecting her deep appreciation for the diverse and complex society she encountered. The book serves as both a visual and literary exploration of China, offering readers an opportunity to see the country through the eyes of a Western traveler at the turn of the century. Bird’s observations highlight the contrasts and nuances of Chinese life, from bustling markets and serene landscapes to traditional customs and local dress. Chinese Pictures is a valuable resource for those interested in historical travel accounts, photography, and Chinese culture. Bird’s detailed and personal perspective, coupled with her evocative photographs, provides a rich and immersive experience of a bygone era.

Nine entrepreneurs talk about how they grew their companies in China. Their stories are both practical and entertaining, combining firsthand anecdotes about the challenges they faced and how these were met.

In 1990s post-Reform China, a growing number of people armed with video cameras poured out upon the Chinese landscape to both observe and contribute to the social changes then underway. Happening upon the crucial platform of an older independent film movement, this digital turn has given us a "DV China" that includes film and media communities across different social strata and disenfranchised groups, including ethnic and religious minorities and LGBTQ communities. DV-Made China takes stock of these phenomena by surveying the social and cultural landscape of grassroots and alternative cinema practices after the digital turn around the beginning of the new century. The volume shows how Chinese independent, amateur, and activist filmmakers energize the tension between old and new media, performance and representation, fiction and non-fiction, art and politics, China and the world. Essays by scholars in cinema and media studies, anthropology, history, Asian and Tibetan studies bring innovative interdisciplinary methodologies to critically expand upon existing scholarship on contemporary Chinese independent documentary. Their inquiries then extend to narrative feature, activist video, animation, and other digital hybrids. At every turn, the book confronts digital ironies: On the one hand, its portability facilitates forms of radically private film production and audience habits of small-screen consumption. Yet it also simultaneously links up makers and consumers, curators and censors allowing for speedier circulation, more discussion, and quicker formations of public political and aesthetic discourses. DV-Made China introduces new frameworks in a Chinese setting that range from aesthetics to ethical activism, from digital shooting and editing techniques to the politics of film circulation in festivals and online. Politics, the authors urge, travels along paths of aesthetic excitement, and aesthetic choices, conversely, always bear ethical consequences. The films, their makers, their audiences and their distributional pathways all harbor implications for social change that are closely intertwined with the fate of media culture in the new century of a world that both contains and is influenced by China.

Praise for Poorly Made in China "This fast-paced travelogue through the world of Chinese manufacturing is scary, fascinating, and very funny. Midler is not only a knowledgeable guide to the invisible underbelly of the global economy, he is a sympathetic and astute observer of China, its challenges, and its people. A great read." —Pietra Rivoli, author of The Travels of a T-Shirt in the Global Economy "Paul Midler takes us for a ride through the fastest-growing economy in the world, revealing what can—and sometimes does—go wrong when U.S. companies shift production to China. Working in the heart of China's export hub, in the country's southern region, he has the advantage of a front-row seat to the no-holds-barred games played between manufacturers and importers. He introduces us to a cast of real-life characters and tells his story with a mix of affection and skepticism for what is taking place in China today. Midler delivers a revealing and often funny tale of life and commerce in a country whose exports touch nearly everyone on the planet." —Sara Bongiorni, author of A Year Without 'Made in China'