Abstract
This chapter examines Tian Zhuangzhuang’s 2002 remake of Fei Mu’s 1948 Spring in a Small Town concerning issues of cinematic memory, cultural nostalgia, and aesthetics. Highly regarded as a world-class film in Chinese-language cinemas, Fei Mu’s work, however, is hardly known outside China. It is Tian’s rendition of this unknown classic with colour and English subtitle that has brought the film to international awareness. While it seems to be an Oedipal problem about surpassing one’s own master, the main issue hinges on the historical question of cultural nostalgia and memory. It is about the director’s wilful determination to revive the master and to reinvent himself as well as Chinese cinema in the new millennium under the crisis of globalisation and marketization of Chinese films. What motivates a Fifth-Generation filmmaker to remake the past work of a forgotten master? Why has the Chinese director to take up such a formidable cinematic challenge as a way of resituating the present in relation to the past? Is Tian trying to correct the earlier cinematic source, or to render a more accurate version of the original text? Recreating a past work in Chinese cinema becomes a sophisticated act to probe the meaning of memory, which is different from the Western postmodernist injunction to parody or negate the past. The labour of reconstructing a neglected classic is an index of absence, a painful reminder of something lost, a regret of what Chinese cinema is not. When his fellow filmmakers are busily involved in the globalisation of Chinese film, Tian chooses to go back to a small-budget production to appeal to an expectedly small audience in arthouse theatres. I ponder the meaning of the cinematic memory of Fei’s ‘classic’ text, and challenge the establishment of an auteurish charm in the vein of the national-cultural discourse.
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Notes
- 1.
Film advertisement of Spring in a Small Town, Da gong bao (Hong Kong), 22 February 1951.
- 2.
Martin Scorsese was Tian’s favorite. He had seen Taxi Driver eleven times. François Truffaut’s Four Hundred Blows is “real cinema” for Tian. Ozu Yasujiro’s “powerful flavor of life and silent, implicit meanings are quintessentially Oriental.” Among Chinese directors, Tian appreciates Shui Hua as saying: “Skill is not a matter of superficial techniques. It lies in one’s character and learning and one’s understanding and command of the Way” (Ni, 2002: 102).
- 3.
See Ain-ling Wong’s interview with Wei Wei (Wong, 1998, 194–208).
- 4.
- 5.
For an alternative elaboration of Fei’s cinema and realism, see Fan’s (2015) argument of Fei’s ontological view of cinema and his cinema’s manifestation of the profound mundaneness of life.
- 6.
For an insightful account of the film’s modernist stylistics and female subjectivity, see Daruvala (2007).
- 7.
Hu Jubin (2003, 181–183) claims that Chinese filmmakers sought to establish their own tradition of cinema in resistance to Hollywood influences. In this sense, Fei manipulated expressive techniques as the core issue in promoting a “national cinema.”
- 8.
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Ng, K.K.K. (2020). Remaking China: The Canonization of Fei Mu’s Cinema. In: Chan, K.K.Y., Lau, C.S.G. (eds) Chinese Culture in the 21st Century and its Global Dimensions. Chinese Culture, vol 2. Springer, Singapore. https://doi.org/10.1007/978-981-15-2743-2_5
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