English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The film  The Eight Hundred  deals with the Chinese resistance against invading Japanese troops during the early days of the Second Sino–Japanese War. Produced in the People’s Republic of China and released in 2020, it was a huge box office success that showcases the heroic resistance of a Republican National Revolutionary Army battalion during the Battle of Shanghai in 1937. While the Chinese nation faces Japan as its “other”,  The Eight Hundred’s  patriotic male heroes emerge as the antithesis of, not women and dehumanized Japanese soldiers, but unheroic Chinese men, whom they seek to “wake up” and inspire as role models. This article examines how  The Eight Hundred  constructs a concept of martial masculinity tied to nationalism in relation to other established Chinese concepts of masculinity.

Heroes and Other Men: Masculinity and Nationalism in The Eight Hundred