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Wu Yonggang and the Ambivalence in the Chinese Experience of Modernity: A Study of His Three Films of the Mid-1930s

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The interaction with the modern West has been a central part of Chinese history of the last hundred and fifty years and continues to dominate Chinese life today. One of the complexities of this cultural interaction is that even the most ardent iconoclasts in China failed to completely break away from the Chinese traditional mode of thinking.1 The tension between the need to hold on to one's cultural identity and the appeal of Western fads has been an essential part of Chinese experience with modernity in the twentieth century.

Keywords: Chinese history; Western fads; cultural identity; modernity; progress; spatial West

Document Type: Research Article

DOI: http://dx.doi.org/10.1386/ac.9.2.3_1

Affiliations: California State University

Publication date: March 1, 1998

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  • Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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