This article will discuss the memoirs of China’s political past in film. Such films have a tendency to reminisce those unforgiving times by way of one’s childhood and adolescence as if, when placed against the fuzzy, gullible, and playful humdrum of childhood, one could
feel less depressed and offended about them. Is the turn towards everyday life a backlash against indiscriminate or even a disingenuous indictment of the Cultural Revolution, or a postmodern trivialization of political traumas, or a mere rhetorical homage paid to the quotidian as the trendsetter?
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.