Scholars of many disciplines, have provided theories on the relationship between place and childhood, adult memory (Glassberg, 2001: 113-118). Place is not empty; it is "storied." Wallace Stegner contends, "No place is a place until the things that have happened in it
are remembered in history, ballads, yarns, legends, or monuments" (in Glassberg, 2001: 116). This paper examines the relationship between Zhang Yimou's filmic presentations and the culture of Shaanxi, his home province. My overall argument is that Shaanxi culture has been the archetypes
for his filmic distinctiveness.
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.