In China there is a deep-rooted tradition of creating strong images to render the longing for a powerful nation. But I don't think the obsession with spectacles is a particular Chinese thing. I think it is also hard to distinguish the spectacles' roles as simply being political, or being consumable. They mingle together. Many images do serve for patriotic purposes, but at the same time they're meant to be consumed. In Bo Xilai's Chongqing, lots of street performances were initiated as part of the campaign. But at the same, time many others were spontaneous — this was what I found most interesting. People join the performances not because they enjoy [them] or like the lyrics. This can work as a good model to understand how social regulation and propaganda works — not through making believers, but through shaping behaviors.