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“Sounding the Everyday: Gendered Acoustic Aesthetics of Immaterial Labor and Female Leadership in Socialist Shanghai,” aims to challenge the popular view that a highly abstracted and politicized socialist labor aesthetics exiles the category of everydayness. Using the 1959 film  Colors of Spring (Wanzi qianhong zong shi chun)  as an example, Xiao shows that the radical agenda of socialist revolution turns traditional “feminine noises” (including women’s everyday conversations and particular sonic elements related to their everyday labor) into revolutionary sounds. More importantly, women play an unprecedentedly active role in shaping the parameters of the new sociopolitical agenda not only through joining the labor force to produce material goods, but also through expanding their access to sound-producing practices that should also be recognized as essential forms of gendered labor (including reproductive and care work at home as well as emotional, intellectual, and organizational labor at work). Through a revisit to the aesthetics and politics of representing tangible sensory experiences of women’s immaterial labor in socialist cinema, we could better understand the sociopolitical significance of socialist women’s liberation that should not be reduced to a utilitarian top-down project of liberating the untapped potential of women’s labor power, but more of a biopolitical revolution through which women transform themselves into active agents in creating new sound practices, communicational networks, social relations, and subjectivities.

Sounding the Everyday Gendered Acoustic Aesthetics of Immaterial Labor and Female Leadership in Socialist Shanghai