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

Geopolitics in Postsocialist Art Film and Beyond

Geopolitics in Postsocialist Art Film and Beyond

Reading Wang Xiaoshuai’s Films

Chapter:
(p.108) Chapter 5 Geopolitics in Postsocialist Art Film and Beyond
Source:
Uneven Modernity
Author(s):

Haomin Gong

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824835316.003.0006

This chapter examines the geopolitics of art filmmaking in postsocialist China by focusing on the work of Sixth Generation director, Wang Xiaoshuai. More specifically, it considers how unevenness shapes contemporary art filmmaking and how young directors such as Wang negotiate their opportunities and position themselves in this new social condition. The chapter first provides an overview of the tension between the social-critical narrative in Wang's films, on the one hand, and the sentimental-universal narrative, on the other. It then shows how this narrative tension reflects larger tensions between artistic pursuits and commercial demands, the domestic audience, and international exposure. Through a geopolitical reading of Wang's art film productions, the chapter explores the symptomatics that are embedded in Western interventions into the productions of Chinese art film and how these uneven conditions are cinematically represented. Two films by Wang are discussed: So Close to Paradise (1996) and Beijing Bicycle (2001).

Keywords:   geopolitics, art filmmaking, postsocialist China, Wang Xiaoshuai, unevenness, art film, social-critical narrative, sentimental-universal narrative, So Close to Paradise, Beijing Bicycle

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.