Before this period, few Chinese cultural productions reflected the lives of peasants and workers. As part of the Cultural Revolution, the struggles of workers, peasants, and revolutionary soldiers became frequent artistic subjects, often created by peasants and workers themselves. The spread of peasant paintings in rural China, for example, became one of the "newborn things" said to arise in a socialist society. In poor and remote areas of China, movies and operas were shown for free. Mobile film units brought the cinema to the countryside and were crucial to the standardization and popularization of cultural during this period, particularly including revolutionary model operas. During the Cultural Revolution, Jiang Qing took control of the stage and introduced the revolutionary model operas under her direct supervision. Traditional operas were banned as they were considered feudalistic and bourgeois, but revolutionary opera, which is based on Peking opera but modified in both content and form, was promoted. Starting in 1967, eight model dramas (six operas and two ballets) were produced in the first three years, and the most notable of the operas was The Legend of the Red Lantern. These operas were the only approved opera form. Other opera troupes were required to adopt or change their repertoire. The model operas were broadcast on the radio, made into films, blared from public loudspeakers, taught to students in schools and workers in factories, and became ubiquitous as a form of popular entertainment and the only theatrical entertainment for millions in China. Most of the model dramas featured women as their title characters and promoted China's policies of state feminism. The narratives of these women protagonists begin with them oppressed by misogyny, class position, and imperialism before liberating themselves through the discovery of internal strength and the Communist Party. In 1966, Jiang Qing put forward the Theory of the Dictatorship of the Black Line in Literature and Arts where those perceived to be bourgeois, anti-socialist or anti-Mao "black line" should be cast aside, and called for the creation of new literature and arts. Writers, artists and intellectuals who were the recipients and disseminators of the "old culture" would be comprehensively eradicated. The majority of writers and artists were seen as "black line figures" and "reactionary literati", and therefore persecuted, many were subjected to "criticism and denunciation" where they may be publicly humiliated and ravaged, and may also be imprisoned or sent to be reformed through hard