Red Classics is a post-Cultural Revolution vocabulary, but it contains the cultural revolution memories associated with reality. Originally (1980), it was used to refer to the model operas that appeared during the Cultural Revolution. Later (after 1990' s), people driven by nostalgia generally refer to the typical works that were created under the guidance of Mao Zedong's Speech at the Yan 'an Forum on Literature and Art (1942) and reflected the social and political movement under the leadership of China and the life of ordinary workers, peasants and soldiers. The works in different periods are titled with the same title, which shows that they have some internal identity in basic ideas, value orientation (social ideal, moral inheritance), creative paradigm, aesthetic style and so on.

The former are the ballet Red women soldiers (starring Liu Qingtang), White-haired Girl, The Story of the Red Lantern (starring Qian Haoliang and Liu Changyu), The Tiger Mountain (starring Tong Xiangling), Shajiabang, The White Tiger's Wonders and The Harbor. Then add Song of the Dragon River, Du Fu Shan (starring Yang Chunxia), Battle of the Plain, Rock Bay, symphonic music Shajiabang, piano accompaniment The Red Lantern (piano player Yin Chengzong) and piano concerto The Yellow River (ditto).

Belonging to the latter are the novels Red Rock, Red Sun, Red Flag Spectrum, History of Entrepreneurship (Liu Qing), Great Changes in the Countryside (Zhou Libo), Song of Youth, Defending Yan 'an, Lin Hai Xue Yuan (collectively known as Three Reds and One Creation Shan Ye Greenwood) and Shanghai Morning (written in Trilogy of sparkling Red Star (during the Cultural Revolution), founding ceremony and the War of Liberation-Armageddon, Great Turning Point, Great March, Hejiao (after the Cultural Revolution), Volunteer Song "March of the East Red" and "Defending the Yellow River" (before 1949), without * *, there would be no new China, singing the motherland and singing a folk song for the party.

Due to the repeated play of model operas in the ten years of the Cultural Revolution, people have developed a habit of listening and singing subconsciously, and the excerpts of model operas are still played as usual for a long time after 1976. It has caused criticism from Ba Jin and others, and then gradually faded out. Since the late 1980s, some people (Cui Jian) tried to deconstruct the sacred red classics by covering Nanniwan. Later, it became a routine creation (the criticism at that time was extremely strong and huge, and then it gradually declined). This subversive way of appealing to sensibility (represented by Wang Shuo in literature) is more effective and direct than rational criticism. Since 1990, people who are depressed under the impact of the market and entertainment industry have shown weak signs of recovery under the impetus of the two driving forces of market operation. From 2002 to 2004, nearly 40 "Red Classics" TV dramas were included in the planning approval project, with a total of about 850 episodes. At the beginning of 2003, the literary magazine Jiangnan published Shajiabang, a novel adapted from a drama of the same name, which caused an uproar against banter and insult to red classics. Shajiabang Town and Shanghai New Fourth Army Historical Research Association submitted letters of protest to Jiangnan magazine respectively. People, including Ms. Jin, the wife of Mr. Wenmu, the original author of Lu Danghuo, expressed great indignation and condemnation of this so-called "joke", while Mrs. Wenmu reserved the right to legal prosecution.

In 2004, the State Administration of Radio, Film and Television of China issued the Notice on Taking the Adaptation of Red Classic TV Series Seriously, and it is forbidden to make jokes about red classics. It is believed that these adapted TV series have the problem of "vulgarization" of "misreading the original, misleading the audience and misunderstanding the market", and the adaptors have not understood or even distorted the core spirit, historical background and social essence of the original. One-sided pursuit of ratings and entertainment, weaving too many emotional entanglements in the main characters and heroes, deliberately excavating the so-called "multiple personalities", pursuing the so-called "humanization" in the portrayal of negative characters, wantonly expanding the original capacity and "diluting" the original, which has affected the integrity, seriousness and classicality of the original. However, some critics said, "If there is any' bright spot' in the red classics, it is also from the strong infiltration and infringement of national ideology, and from the fact that folk consciousness is still stubbornly maintained in the aesthetic form, which restricts the so-called revolutionary literary line." "We should let history test it, not rush to ban it." Around this conflict, the entanglement and tension between official ideology, business operation and folk critics shows no sign of ending.

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