DATE

5/28/25

TIME

11:20 AM

LOCATION

Oakland, CA

The Birthplace of Wrapping Authoritarianism in Confucian Culture

接《国民党打仗,共产党动员农会》

7-1: 黄埔派系

蒋介石,1887年生于浙江奉化溪口,小镇商人家庭,父早亡,靠母亲抚养。1906年入保定陆军预备学堂,后赴日本东京振武学校、陆军士官学校,接受近代军事教育。在日本,他接触到孙中山领导的同盟会,并加入革命阵营。1911年辛亥革命爆发后,蒋先生回国参与光复上海,之后军旅生涯起伏不断。

1924年,他被孙中山任命为黄埔军校校长,他在国民党军队的训练系统里逐渐形成自己的亲信部队。黄埔系成为他的权力基础,“党军合一”的原型从此诞生。1926年领导北伐军,迅速攻占湖南、江西、浙江、南京、上海,成为国民党内部最具实权者。

蒋先生早年接受的是日本近代军校训练,尤其重视命令服从、纪律整齐、组织效率。他崇尚强人意志与权威控制,而非妥协式政治协商或群众自治。在黄埔军校,他推行的是军官即政治干部的模式,以军事化方式改造政治组织。

黄埔军校,全名“中华民国陆军军官学校”,1924年由孙中山创办,蒋介石任校长,地址设在广州黄埔岛。学校的校训强调“革命、忠诚、牺牲”,比战术更重要的是思想政治训练与对领导者的绝对忠诚。讲政治课的,不是将军,而是共产党人,包括周恩来、恽代英、林伯渠等人曾任政治教官。蒋介石则负责军事纪律、日常训练,并逐步确立其个人权威。

在黄埔体系中,一个军官必须具备两个核心素质:军事能力,即指挥、作战、服从命令的能力;和政治忠诚,即必须忠于国民党,具体说,应该是忠于蒋介石。这套思路后来被延续为国民革命军中军官必须是国民党员,高级将领多数出自黄埔,构成“黄埔系”,及军中普遍设有党务指导系统与特务监控机制,确保“思想纯洁”。

所谓的“思想纯洁”,主要是指对国民党的意识形态完全认同,即对蒋介石个人权威无条件服从,不能有亲共、自由主义、社会民主、民族主义的杂音,而且必须坚信三民主义。黄埔军校开设政治课,宣传三民主义、蒋的思想、党纲。入党、升职、军校选拔都要审查背景,查有无“思想不纯”之嫌。军中有告密制度,设立特务、情报员,互相监督言论。一旦被认为“思想不纯”,比如对蒋不满、与共产党接触、阅读“非法书刊”,就会被排除、降职、关押,甚至杀害。这和共产党的思想纯洁非常相似,都强调意识形态的统一性,个人对组织的忠诚高于一切。思想不只是内心活动,而是政治立场。

蒋介石的这套模式并没有止步于黄埔,而是从黄埔向整个国民党组织蔓延。党务系统按军队逻辑来布置,上下级垂直领导,没有民主协商。基层组织强调命令、执行、检讨,缺乏自治性。宣传系统仿照军队号令逻辑来设计口号、运动、群众动员。这种军事化政治干部系统一方面确实在短期内提高了执行力、纪律性与组织力,助他统一南方、北伐成功。

但它也有很多问题,比如缺乏政治包容性,容不下异议,内斗频繁;阻碍政党制度化发展,党内派系严重、监督机制缺失;一旦军事失败、如内战失利,政党也随之崩溃,因为党本身就是靠军队维系的。这也解释了为什么1949年之后,国民党在台湾虽存,但再也没能恢复政党活力,而是变成了一个脱离社会基础的上层权力集团。


7-2: 中央俱乐部

“中央俱乐部”(Central Club)成立于1927年南京,表面是个讨论国家方针政策的青年组织,实质上是一个党内情报、监控、动员与任命系统的隐形网络。这个俱乐部由陈果夫、陈立夫两兄弟创立,是蒋介石最忠实的文官亲信,故称“CC系”。中央俱乐部不是正式的政府机构,但却可以决定谁能入党,谁能升官,谁该被肃清,以及哪种思想可以传播。

中央俱乐掌管国民党中央组织部、人事部、教育部等关键部门,任命各级党部负责人,还派遣专员到地方“监督纯洁性”。他们还控制媒体、报纸、出版物,推动“新生活运动”,主张“整洁、礼义、廉耻”四维八德。他们大肆宣传反共、反自由主义、反西方思想。原来用儒家包装极权是从国民党这里过来的。

中央俱乐部的创始人兄弟陈果夫与陈立夫,被称为蒋先生的左右手。陈果夫性格严厉,善于整顿纪律,制定规章,操盘组织系统。而陈立夫善于宣传、文笔好,主抓教育、思想、文化系统。他们精通如何用传统文化术语掩盖现代政治控制术,把对蒋介石的个人崇拜包装成忠孝仁义,把肃清异己包装成整肃党风,把组织垄断包装成统一思想,团结路线。

这个俱乐部的人控制国民党的组织部、人事处、教育部、宣传部。他们通过培训、派遣、提拔自己人,并在各省市设中央俱乐部分会,成为地方政权中枢。在教育系统全面推行党化教育,大学教授要听党训,教材要过审,组织大量青年军训营、学生政治讲习所,培育国民党思想干部。

而“新生活运动”,则是蒋先生在1934年亲自发起的一场全国性社会改造运动,目标是通过强调传统伦理、生活纪律与道德规范,来整肃社会风气、稳定政权根基。它是国民党面对社会动荡、阶级对立、革命思潮崛起时的保守式应对。

1930年代初,中国正面临共产党革命运动兴起,鼓吹打土豪、分田地;社会风气混乱,吸毒、赌博、性交易、都市无政府化现象普遍;抗日情绪高涨,但民众组织松散,军队士气低落;国民党政权合法性危机,执政效果差、民心不稳。蒋介石在军事上剿共,在文化上就发动了这场由上而下的精神整顿。

新生活运动的核心口号有“礼义廉耻,为立国之四维”,“忠孝仁爱信义和平,为做人之八德”。具体要求为衣着整洁、不暴露、不奇装异服;不随地吐痰、不乱扔垃圾、不打麻将赌博;勤俭节约、遵守交通、不走后门不贪污;男女行为检点,反对婚前性行为、通奸、卖淫;反对懒惰、消费主义与个人主义;家庭内主张父权、夫权、孝道、节妇。这样一看,我全部违反了,除了卖淫。这看似是道德宣传,其实是国家试图深入到个人身体与生活的各个层面。

当时的执行方式包括首先在军队中执行,每日检衣、查言行。然后扩展到学校,编教材、搞讲座、设新生活会。配合警察系统,在城市设立“新生活检查员”,有人专门纠察穿短裙、打麻将、男女拥抱,强制推行。

虽然“新生活运动”打着传统文化旗号,但它的形式却非常现代,甚至有点像当时欧洲的极右运动。它崇尚秩序、纪律、国家至上,厌恶自由主义与个体主义,强调集体性、牺牲与纯洁,用仪式、口号、服装等方式统一人民意识。我不禁汗颜,我要是活在当时,我得多不纯洁。怪不得我的姑妈说过我没有教养。按照她的眼光,我确实一点教养都没有。虽然我不太理解她如何可以比我更有教养。因为张口就说别人没教养本身,只是因为我把拖鞋摆在还是我家拿过去的跑步机旁边,似乎是也是很没有教养的行为。

新生活运动虽然让城市里短时间确实出现过所谓的整齐清洁的表象,但民众普遍感到压抑、厌烦,地下讽刺漫画、段子层出不穷。这也每解决根本问题,贫穷、腐败、压迫、社会不平等。与此形成强烈对比的,是共产党在农村的土地改革、动员群众,政治出现了另外一种可能。



7-1: The Whampoa Faction

Chiang Kai-shek was born in 1887 in Xikou, Fenghua, Zhejiang, into a small-town merchant family. His father died early, and he was raised by his mother. In 1906, he entered the Baoding Army Preparatory School, and later went to Tokyo’s Shimbu Gakko and the Imperial Japanese Army Academy, receiving modern military education. While in Japan, he came into contact with Sun Yat-sen’s Tongmenghui and joined the revolutionary movement. After the Xinhai Revolution broke out in 1911, Chiang returned to participate in the recovery of Shanghai. His military career afterward was marked by turbulence.

In 1923, he was appointed by Sun Yat-sen as president of the Whampoa Military Academy, where he gradually built a loyal power base within the Nationalist military structure. The Whampoa clique became the foundation of his authority, and the prototype of a “party-army unity” was born. In 1926, he led the Northern Expedition, quickly capturing Hunan, Jiangxi, Zhejiang, Nanjing, and Shanghai, becoming the most powerful figure within the Kuomintang (KMT).

Chiang received Japanese-style modern military training early on, which emphasized absolute obedience, strict discipline, and organizational efficiency. He admired the willpower of strongmen and authoritarian control, rather than consensus politics or grassroots autonomy. At Whampoa, he promoted a model where military officers were also political cadres, using militarized methods to reform political structures.

The full name of the academy was the “Republic of China Army Officer Academy,” founded by Sun Yat-sen in 1924, with Chiang as president, located on Whampoa Island in Guangzhou. The academy’s motto stressed “revolution, loyalty, and sacrifice,” and more important than tactical training was political indoctrination and absolute loyalty to leadership. Interestingly, political classes were taught not by generals but by Communists—figures like Zhou Enlai, Yun Daiying, and Lin Boqu served as political instructors. Chiang focused on military discipline and daily training, gradually consolidating personal authority.

Within the Whampoa system, an officer had to meet two core criteria: military competence—command, combat, obedience—and political loyalty, specifically to the KMT, and in practice, to Chiang himself. This logic later expanded throughout the National Revolutionary Army: officers had to be party members, senior commanders were often Whampoa graduates, forming the “Whampoa clique.” The army embedded party guidance systems and secret police mechanisms to ensure “ideological purity.”

“Ideological purity” primarily meant total adherence to KMT ideology—more precisely, absolute loyalty to Chiang Kai-shek. No traces of communism, liberalism, social democracy, or independent nationalism were tolerated. One had to believe unconditionally in the Three Principles of the People. Whampoa’s curriculum included propaganda of Chiang’s thought, party doctrine, and political screening was required for promotions, party admission, and academy entry. A culture of denunciation flourished: informants, secret agents, mutual surveillance. Being accused of “impure thinking”—dissatisfaction with Chiang, communist contacts, or reading banned literature—could lead to demotion, imprisonment, or even execution.

In this regard, the system bore a striking resemblance to the Communist Party’s own emphasis on ideological conformity. In both, loyalty to the organization superseded personal beliefs. Ideology was not just internal—it was a political position.

Chiang did not stop at Whampoa. This model spread across the entire KMT structure. Party affairs were arranged on military lines: vertical hierarchy, no democratic deliberation. Grassroots organizations focused on command, obedience, and criticism sessions, lacking any autonomous initiative. The propaganda system mimicked military orders to craft slogans, campaigns, and mass mobilization.

While this militarized political cadre system did enhance short-term efficiency, discipline, and organizational strength—helping Chiang unify southern China and achieve success in the Northern Expedition—it had deep flaws. It lacked political inclusiveness, crushed dissent, and bred internal factionalism. It also obstructed the institutionalization of the party: without independent oversight, the party became a military appendage. Once military defeats occurred—as in the Civil War—the party collapsed with it. This explains why, after 1949, the KMT survived in Taiwan but never regained political vitality, turning instead into a detached elite power group.


7-2: The Central Club Clique

The “Central Club” was founded in 1927 in Nanjing. On the surface, it was a youth organization discussing national policy, but in reality, it functioned as a covert system for internal intelligence, surveillance, mobilization, and appointments within the KMT. It was established by brothers Chen Guofu and Chen Lifu, Chiang’s most loyal civilian aides—hence the name “CC Clique.” Though not a formal government body, it held real power: deciding who could join the party, who could rise, who must be purged, and which ideas were allowed to circulate.

The Central Club controlled key departments of the KMT: the Central Organization Department, Personnel Department, Ministry of Education, etc. It appointed local party leaders and dispatched inspectors to enforce “purity.” It also controlled media and publishing, and spearheaded the “New Life Movement,” promoting the Confucian-style virtues of cleanliness, propriety, loyalty, and shame. They waged ideological war against communism, liberalism, and Western thought. The use of Confucian wrapping for authoritarianism—this too came from the KMT.

The founders, Chen Guofu and Chen Lifu, were called Chiang’s right and left hands. Guofu was stern, good at enforcing discipline and creating bureaucratic rules; Lifu was eloquent, skilled in writing and propaganda, and led the cultural, educational, and ideological sectors. They excelled at using traditional language to cloak modern control tactics: personal worship of Chiang became filial loyalty; purges became moral rectification; ideological monopoly became “unified thought” and “party unity.”

Their people controlled the party’s personnel, organization, education, and propaganda networks. Through training, appointments, and placement, they built their own network, with Central Club branches in various provinces, becoming the nerve centers of local governments. In the education system, they enforced total party control: university professors required party training, textbooks had to pass ideological reviews, and youth military camps and political institutes trained the next generation of KMT ideological cadres.

The “New Life Movement,” launched personally by Chiang in 1934, was a nationwide social reform campaign aimed at restoring moral discipline and political order amid rising communist agitation and deepening class tensions. It was a conservative response to a crisis of legitimacy.

In the early 1930s, China faced communist insurgency calling for land redistribution, widespread social chaos—addiction, gambling, sex trade, urban lawlessness—rising anti-Japanese sentiment but disorganized public, and low army morale. The KMT’s rule was shaky. Militarily, Chiang waged anti-Communist campaigns; culturally, he launched a top-down spiritual rectification movement.

The core slogans were “Propriety, Righteousness, Integrity, Shame—the four pillars of the nation” and “Loyalty, Filial Piety, Benevolence, Love, Trust, Justice, Harmony, Peace—the eight virtues of personhood.” Specific demands included: neat clothing, no exposure or eccentric outfits; no spitting or littering; no gambling or playing mahjong; thrift and obedience to traffic rules; no backdoor favors or corruption; proper gender behavior, with bans on premarital sex, adultery, prostitution; opposition to laziness, consumerism, individualism. Within families, it stressed paternal authority, male dominance, filial piety, and virtuous widowhood.

Frankly, I violated almost all of these—except prostitution. What seemed like moral preaching was in fact a state-led intrusion into personal life, down to the body and daily habits.

Enforcement began in the military, with daily inspections of dress and behavior, then spread to schools—with textbooks, lectures, and New Life societies. In cities, police collaborated with “New Life Inspectors” to monitor clothing, mahjong, and even public displays of affection.

Although it wore the robes of tradition, the New Life Movement was highly modern in execution, even resembling contemporary European far-right movements: glorifying order, discipline, nationalism; rejecting liberalism and individualism; promoting collectivism, sacrifice, and purity. Through rituals, slogans, uniforms—it sought to unify public consciousness. I have to admit, I would have been deemed utterly impure back then. No wonder my aunt once told me I had “no upbringing.” And according to her standard, I probably didn’t—after all, I once left slippers next to a treadmill I had brought to her place. Apparently, that too was an unforgivable breach of decorum.

While the New Life Movement did bring some short-lived cleanliness and order to cities, people generally found it stifling and oppressive. Underground comics and satire flourished. But it solved none of the real problems—poverty, corruption, repression, inequality. In stark contrast, the Communists were mobilizing peasants with land reform in the countryside—offering an entirely different political possibility.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。