Working the System: Motion Picture, Filmmakers, and Subjectivities in Mao-Era China, 1949-1966
Working the System: Motion Picture, Filmmakers, and Subjectivities in Mao-Era China, 1949-1966
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Abstract
This book focuses on a pantheon of preeminent Shanghai-based filmmakers to investigate the making of the new citizenry in Mao-era China (1949-1976). Their checkered careers and stressful personal experiences in post-1949 China provided compelling case studies on how individuals’ subjectivities took shape under a new sociopolitical system. While the existing scholarship on the state-artists relationship tends to underscore the artists’ accommodation of and/or resistance to the Party-state’s domination, the present book argues that the resistance/accommodation binary was oftentimes retrospective constructions and, therefore, differed markedly from those filmmakers’ lived experiences during the early years of the PRC. Rather than offering another historical account of the filmmakers’ self-conscious embracing of the Party’s ideologies or bitter struggles with them, hence, this study examines how the volatile political situations and unstable Party policies in Mao’s China contributed to creating, maintaining, and adjusting those film directors’ newfound subjectivities in Mao’s China.
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Front Matter
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Introduction
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1
Wu Xun, Song Jingshi, and Lin Zexu: Cinema and Historiography in Mao’s China (1949–1966)
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2
From Wu Xun to Lu Xun: Film, Stardom, and Subjectivity in Mao’s China
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3
“Putting New Wine into Old Bottles”: Sun Yu’s Filmic Career in Post-1949 China
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4
Wu Yonggang: Opera Film, the Cinematic Cold War, and Artistic Autonomy
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5
The Making of Xie Jin in the PRC: Womanhood, Melodrama, and Co-authorship
- 6 Conclusion
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End Matter
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