June 2013
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7 Reads
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18 Citations
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Publications (1)
Citations (1)
... Aesthetically, narratively and ideologically speaking, Fei's film did not fit with this agenda. The film was released at the same time as a string of resistance war films that appeared in 1947, some of which were considered to be, in fact, indictments of the Nationalist regime in the way they "explained to audiences why victory in the war felt like defeat" (Daruvala, 2007, p. 179), a phenomena that Carolyn FitzGerald described as 'yuan aesthetics' (FitzGerald, 2013). Spring in a Small Town nevertheless stood in contrast to socialist realist cinema in its post-war melancholy aesthetics, "sharing in a general post-war exhaustion and fear of the future" (Daruvala, 2007, p. 179). ...
Reference:
Remaking Gender and the Family
- Citing Book
June 2013