Advertisement

The Arrival of Chinese Post-socialism: Silence, Sound and Fury

  • Xiaoping Wang
Chapter
Part of the Chinese Literature and Culture in the World book series (CLCW)

Abstract

The first trend in China’s new wave cinema portrayed the gloomy silence, as well as the restless feeling of repression in the post-Tiananmen era. The three movies presented in this chapter are the key texts that show the silence, sound and fury of the time; yet, they harbor very different connotations regarding the respective cultural-political visions. Beijing Bastards (1993) focuses on Beijing youngsters experiencing the conflicts between dreams and realities, delivering a strong sense of confusion and misgiving. While it shows the silence of repressed life, Weekend Lover (1995) is more indicative of the sound of the cultural scene with the subject concerns of rebellion, violence, sex, anti-establishmentarianism, narcissism and self-indulgence. By contrast, behind the unapologetic hedonism and melancholic sorrow of Summer Palace (2006) is a sense of fury, a gesture of repudiating reflection, which conceals the birth of a bourgeois subjectivity/identity among the ruins of historical trauma.

References

  1. Chang, Chris. “Distributor Wanted: Summer Palace.” Film Comment, January/February, 2007.Google Scholar
  2. Chen, Mo and Zhiwei Xiao. “Chinese Underground Films: Critical Views from China.” In Paul Pickowicz and Yingjin Zhang (eds.), From Underground to Independent: Alternative Film Culture in Contemporary China, pp. 143–160. Lanham, MD: Rowman & Littlefield, 2006.Google Scholar
  3. Dai, Jinhua (戴锦华). Wuzhong fengjing (雾中风景) [A Scene in the Fog]. Beijing: Beijing daxue chubanshe, 2000.Google Scholar
  4. Denby, David. “Moral Landscapes.” The New Yorker, January 21, 2008.Google Scholar
  5. Elley, Derek. “Review: ‘Summer Palace’.” Variety, May 18, 2006.Google Scholar
  6. Gay, Peter, ed. The Freud Reader. New York: W. W. Norton, 1989.Google Scholar
  7. Jones, Andrew F. Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music. Ithaca, NY: East Asia Program, Cornell University Press, 1992.Google Scholar
  8. Li, Xuebing (李学兵). “Lou Ye de Chengshi” (娄烨的城市) [The City of Lou Ye]. Beijing dianying xueyuan xuebao (北京电影学院学报) [Journal of Beijing Film Academy] 1 (1995): 157–159.Google Scholar
  9. McGrath, Jason. Postsocialist Modernity: Chinese Cinema, Literature, and Criticism in the Market Age. Stanford, CA: Stanford University Press, 2008.Google Scholar
  10. Ouyang, Jianghe (欧阳江河). Zhongguo duli dianying fangtanlu (中国独立电影访谈录) [On the Edge: Chinese Independent Cinema]. Hong Kong: Oxford University Press, 2007.Google Scholar
  11. Rayns, Tony. Catalogue for the Vancouver International Film Festival. Vancouver: Vancouver International Film Festival, 1992.Google Scholar
  12. Reynaud, Berenice. “Zhang Yuan’s Imaginary Cities and the Theatricalization of the Chinese ‘Bastards’.” In Zhang Zhen (ed.), The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century, pp. 264–294. Durham: Duke University Press, 2007.Google Scholar
  13. Sandhu, Sukhdev. “Cannes 2006: Love in Paris and Hatred in Ireland.” The Daily Telegraph, May 19, 2006.Google Scholar
  14. Scott, A.O. “Summer Palace—Movie Review.” New York Times, January 18, 2008.Google Scholar
  15. Solomons, Jason. “Give Pedro the Prize.” The Guardian. May 21, 2006.Google Scholar
  16. Variety Staff. “China Gives ‘Palace’ Pair 5-Year Bans.” Variety (2006, September 4). http://variety.com/2006/film/news/china-gives-palace-pair-5-year-bans-1117949488/. Accessed February 20, 2016.
  17. Wang, Ban. “Studies of Modern Chinese Literature.” In Haihui Zhang, Zhaohui Xue, Shuyong Jiang and Gary Lance Lugar (eds.), A Scholarly Review of Chinese Studies in North America, pp. 377–389. Ann Arbor, MI: Association for Asian Studies, 2013.Google Scholar
  18. Watts, Jonathon. “Interview: Lou Ye, Camera Obscured.” The Guardian (2006, September 9). http://www.theguardian.com/commentisfree/2006/sep/09/comment.china. Accessed November 11, 2015.
  19. Yigeren de tiankong 一个人的天空. “Zhang Yuan de Beijing zazhong: Yiciwulide xuanxie” 张元的《北京杂种》: 一次无力的宣泄 [Zhang Yuan’s Beijing Bastards: A Powerless Catharsis]. http://blog.sina.com.cn/s/blog_541949290100fj98.html. Accessed December 12, 2015.
  20. Yiju, Huang. “By Way of Melancholia: Remembrance of Tiananmen Square Incident in Summer Palace.” Asian Cinema 21 (1) (2010): 165–178.CrossRefGoogle Scholar
  21. Zhang, Yingjin. “Rebel Without a Cause? China’s New Urban Generation and Postsocialist Filmmaking.” In Cinema, Space, and Polylocality in a Globalizing China, pp. 49–80. Honolulu: University of Hawaii Press, 2010.CrossRefGoogle Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Xiaoping Wang
    • 1
  1. 1.College of Chinese Language and CultureHuaqiao University, Xiamen CampusXiamenChina

Personalised recommendations