The novel coronavirus (COVID-19) outbreak has become a globally concerned public health crisis since it first identified in Wuhan, China. The novel coronavirus, which has no specific antiviral treatment to cure, causes pandemic and public fear across the globe. In this time of crisis, a female virtual anchor figure Jiangshanjiao (Beauty Land) was launched on social media platform Weibo by the Communist Youth League of China in its official account as a way of inspiring public emotions. However, unlike the previously launched nationalist idols, Jiangshanjiao was soon strongly criticized by the public in social media for its inappropriate launching time during a public health crisis, for its idolizing the national figure, and for its ignorance of gender discrimination. The virtual anchor was taken down after five hours.
This paper sees social media platforms as expansions of people’s gathering in physical spaces and a virtual space where the public discussion has taken place. Social media integrate immediacy, simultaneity, and interactivity into one media platform, and thus has become a powerful stage to present public opinions and to proliferate civic participation in the public domain.
This paper aims to examine the meanings and background of launching the nationalist virtual anchor by the CYLC, and the reactions and criticism occurred in the digital public sphere, intersecting theoretical frameworks of nationalism, feminism and popular culture. This paper elaborately interprets the media texts, including the launching post and the comments it receives from the public, using discourse analysis. This paper seeks to answer how the public perceive Jiangshanjiao, why the virtual anchor figure failed at this specific time of crisis, how the public reacts and challenges the status quo when nationalism encounters gender inequality, what role social media platform plays during this process, and draw conclusions on how popular culture reflects the dynamics among social, political and cultural facets.