After coming to power in 1949, the Communists gradually nationalized the publishing industry, centralized the book distribution system, and brought writers under institutional control through the Writers Union. A system of strict censorship was implemented, with Mao's "Yan'an Talks" as the guiding force. Periodic literary campaigns targeted figures such as Hu Shih and other figures from the New Culture period, especially Hu Feng, a protege of Lu Xun who, along with his wife Mei Zhi, did not toe the Party line on literature. Socialist realism became the uniform style, and many Soviet works were translated. The ability to satirize and expose the evils in contemporary society that had made writers useful to the Communist Party of China before its accession to power was no longer welcomed. Party cultural leaders such as Zhou Yang used Mao's call to have literature "serve the people" to mount attacks on "petty bourgeois idealism" and "humanitarianism". This conflict came to a head in the Hundred Flowers Campaign (1956–57). Mao Zedong initially encouraged writers to speak out against problems in the new society. Having learned the lessons of the anti-Hu Feng campaign, they were reluctant, but then a flurry of newspaper articles, films, and literary works drew attention to such problems as bureaucratism and authoritarianism within the ranks of the party. Shocked at the level of discontent, Mao's Anti-Rightist Movement put large numbers of intellectuals through so-called "thought reform" or sent them to labor camps. At the time of the Great Leap Forward (1957–59), the government increased its insistence on the use of socialist realism and combined with it so-called revolutionary realism and revolutionary romanticism.