Jump to ContentJump to Main Navigation
Uneven ModernityLiterature, Film, and Intellectual Discourse in Postsocialist China$
Users without a subscription are not able to see the full content.

Haomin Gong

Print publication date: 2011

Print ISBN-13: 9780824835316

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824835316.001.0001

Show Summary Details
Page of

PRINTED FROM HAWAII SCHOLARSHIP ONLINE (www.hawaii.universitypressscholarship.com). (c) Copyright Hawaii University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in HSO for personal use (for details see www.universitypressscholarship.com/page/privacy-policy).date: 22 October 2018

Commerce and the Critical Edge

Commerce and the Critical Edge

The Politics of Postsocialist Film and the Case of Feng Xiaogang

Chapter:
(p.85) Chapter 4 Commerce and the Critical Edge
Source:
Uneven Modernity
Author(s):

Haomin Gong

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824835316.003.0005

This chapter examines how postsocialist China's uneven social and cultural conditions shape the field of commercial filmmaking by focusing on the work of Feng Xiaogang. Before expounding on the relationship between unevenness and commercial filmmaking in Feng's case, the chapter looks at the social space in postsocialist China as represented in his films. It then discusses the major focus of Feng's films—common people's everyday lives—and especially how these characters reflect and respond to the uneven sociocultural features that determine the field of commercial filmmaking. It also considers Feng's use of humor in his films, three of which are A Sigh (2000), Cell Phone (2003), and A World Without Thieves (2004). The chapter shows that the trajectory of Feng's filmography exhibits a possible and effective form of cultural intervention in the age of popular culture. Feng's films reveal a cultural paradox of postsocialist China: while they embed the director's critique of social problems amid uneven conditions, they take advantage of all-encompassing commercialization.

Keywords:   postsocialist China, commercial filmmaking, Feng Xiaogang, unevenness, social space, film, cultural intervention, social problems, commercialization, humor

Hawaii Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.