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New Chinese Cinemas
  • Forms, Identities, Politics
  • Edited by Nick Browne, Paul G. Pickowicz, Vivian Sobchack, Esther Yau
  • Published online:
    05 June 2012
    Print publication:
    25 February 1994
  • New Chinese Cinemas analyses the changing forms and significance of filmmaking in the People's Republic of China, Taiwan, and Hong Kong since the end of the Cultural Revolution, with a particular emphasis on how film comments on the profound social changes that have occurred in East Asia over the past two decades. Considering in detail both conservative and progressive stances on economic 'modernisation', it also demonstrates how film has been an important formal structure and social document in the interpretation of these changes. The essays collected here, which were specially commissioned for this volume, also offer extended analyses of the important trends, styles and work that define Chinese filmmaking in the 1980s.

  • Zheng Junli, Complicity and the Cultural History of Socialist China, 1949–1976

  • Paul G. Pickowicz
  • Journal:
    The China Quarterly / Volume 188 / December 2006
    Published online by Cambridge University Press:
    21 December 2006, pp. 1048-1069
    Print publication:
    December 2006

  • This article explores cultural producation during the Mao era (1949–76) by focusing on the evolving relationship between artists and the party-state. The emphasis is on state direction of art in the all-important film industry. From 1949, well-known bourgeois Republican-era artists willingly began the complicated, painful and sometimes deadly process of adjusting to Communist Party state building, nation building and political domination. The career of influential film director Zheng Junli is examined as a case study of creative and strategic accommodation to new circumstances on the one hand, and of complicity on the other. Zheng is seen in his dual and contradictory roles as both trusted, ever loyal insider and unreliable, even degenerate, outsider. His Mao-era films, especially the spectacular Great Leap Forward production of Lin Zexu, are analysed in terms of their political thrust and reception in the difficult-to-predict world of the People's Republic.

  • 3 - Huang Jianxin and the Notion of Postsocialism

  • Edited by Nick Browne, University of California, Los Angeles, Paul G. Pickowicz, University of California, San Diego, Vivian Sobchack, University of California, Los Angeles, Esther Yau, Occidental College, Los Angeles
  • Book:
    New Chinese Cinemas
    Published online:
    05 June 2012
    Print publication:
    25 February 1994, pp 57-87

  • Summary

    It is easy merely to assert that Huang Jianxin was perhaps the most politically daring young director to appear in China in the troubled 1980s. The difficulty in assessing his work arises when one tries to locate Huang's highly innovative trilogy of films, The Black Cannon Incident [Heipao shijian, 1986], Dislocation [Cuowei, 1987; also known as The Stand-in], and Transmigration [Lunhui, 1989; also known as Samsara], in any conventional conceptual framework. In a general sense, Huang's work belongs to the vaguely defined category of Fifth Generation films made between 1983 and 1989. However, he was really the only important director in the elite group consisting of Chen Kaige, Tian Zhuangzhuang, Zhang Yimou, Wu Ziniu, and a few others who dealt exclusively and explicitly with the profound problems of the contemporary socialist city. One hardly needs to be reminded that it was precisely in this sector of Chinese society that the massive popular protests of the spring and summer of 1989 originated. Thus, more than the works of any other Chinese filmmaker, Huang Jianxin's anticipated that extraordinary turmoil.

    In December 1988, a time of considerable cultural openness in socialist China, I attended a prerelease screening of a rough cut of Transmigration at the Film Archive of China. This screening was attended primarily by film specialists and critics in Beijing such as Li Tuo and Zheng Dongtian, who were eager to get their first look at a work that was rumored to be highly controversial.

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