Social Critiques and Sentimentalism: On Wang Xiaoshuai’s So Close to Paradise
As a key figure in the so-called “Sixth Generation” directors in China, Wang Xiaoshuai has attracted considerable attention in academics, both in China and in the West. His first “legal” film — a film that is officially authorized by the state-controlled filmmaking system in China — So Close to Paradise (Biandan guniang, 1996) deserves special attention. As a transitional film from the “underground” to “in-system” production, this film represents a salient transition in Wang’s filmmaking when he was facing the imperatives of art, state censorship, and commercialization. In this sense, it is also a locale where investigations of the problematics of Chinese film at the turn of the 21st Century can be fruitfully conducted.
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Document Type: Research Article
Publication date: 01 September 2009
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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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