At the same time, big-character posters started to appear in the city.

Since the media was under state control students depended on big-character posters, student-controlled broadcasting stations, and word of mouth for information.

Citizens also gained the "four big rights": the right to speak out freely, air views fully, hold great debates, and write big-character posters.

During the Tiananmen Square protests of 1989, many big-character posters, banners and leaflets appeared.

Big-character posters became a way for individuals to express their views and to collectively share ideas and opinions regarding the government and movement.

It charged that the political posters pasted on university campuses by students, so-called big-character posters, were "dangerous cancers."

Mao responded with his full support with his own big-character poster entitled Bombard the Headquarters.

She is primarily known for her May 25, 1966 "Big-character poster" criticizing Peking University for being controlled by the "bourgeoisie."

Some of the posters, so-called big-character posters, were splashed with red ink to symbolize the violent death of Mr. Cai.

Zhu adopted radical anarchist and oeuvrierist views, was an active student writer and editor and pioneered the use of the 'big-character poster.'

During the Cultural Revolution, Peking University philosophy faculty Nie Yuanzi notoriously published the first big-character poster.

Other manifestations of the Red Guard campaign included giving speeches, posting big-character posters, and harassment of people, such as intellectuals, who defiantly demonstrated the Four Olds.

On May 25, Nie Yuanzi, a philosophy lecturer at Peking University, authored a big-character poster along with other leftists and posted it to a public bulletin.

Mao, favouring chaos as a means to "cleanse" the leadership ranks, ordered Nie's message to be broadcast nationwide and called it "the first Marxist big-character poster in China."

On June 2nd, the first 'big-character poster' signed by a 'Red Guard' is posted on the classroom building, declaring that they will fight with 'mid-age bourgeois' until they are destroyed.

Big-character posters were soon ubiquitous, used for everything from sophisticated debate to satirical entertainment to rabid denunciation; being attacked in a big-character poster was enough to end one's career.

According to Shen, the trigger for the famous Tiananmen hunger-strikes of 1989 was a big-character poster (dazibao), a form of public political discussion that gained prominence during the Cultural Revolution.

Much larger scale of mass persecutions came after the publication of this big-character poster, resulting in turmoil of the whole country and the death of thousands of "class enemies", including Liu Shaoqi.

There are four parts to Wu's Red Humor installations in Zhejiang: Red Characters: Big-Character Posters, Red Seals, Windy Red Flags, and Big Business.

Big-character posters sprouted again during the Democracy Wall Movement, starting in 1978; one of the most famous was The Fifth Modernization, whose bold call for democracy brought instant fame to its author, Wei Jingsheng.

The experience of feudal fascism influenced the creation of the 1978 Constitution of the People's Republic of China, which guaranteed the "four big freedoms" of the Chinese people: to "speak out freely, air their views fully, hold great debates, and write big-character posters".

On May 25, 1966, several junior faculty at Peking University led by Nie Yuanzi, wrote a "big-character poster" accusing the school administrators of obstructing the Cultural Revolution and calling on the masses to destroy counter revolutionary and pro-Khrushchev elements.

The first students to call themselves "Red Guards" in China were a group of students at the Tsinghua University Middle School who were given the name Red Guards to sign two big-character posters issued on May 25 and June 2 of 1966.

Beginning in October 1978, in line with the Communist Party of China's policy of "seeking truth from facts," activists in the Democracy movement-such as Xu Wenli-recorded news and ideas, often in the form of big-character posters (dazibao), during a period known as the "Beijing Spring".

But now China, home of the very visible Long March and the agit-prop film, followed by the big-character poster and the Goddess of Democracy, has been caught off guard by a vast, silent, virtually invisible movement (if not exactly a revolution) that came together not on the streets but on the Internet.