This book traces the cultural transformation of nostalgia on the
Chinese screen over the past three decades. It explores how
filmmakers from different generations have engaged politically with
China's rapidly changing post-socialist society as it has been
formed through three mutually constitutive frameworks: political
discourse, popular culture and state-led media commercialisation.
The book offers a new, critical model for understanding
relationships between filmmakers, industry and the State.
General
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