Blog Archives

Aside from the occasional films that slip below or through the government radar, Chinese cinema appears to often suffer from the same nationalistic self-obsession that gripped Australian cinema in the 1980s, where it seemed every film needed to exalt national identity through rural tales of sheep dogs, criminals, horses, criminals on horses, etc. Rural China is not just a common backdrop for Chinese films but its cultural exponents are a crucial focus for many of its stories. Hua Yao Bride … (read more)