摘要
A new trend has emerged in Chinese film over the past two decades in which the story of the working class has been narrated aimed at an authentic representation of the nation＇s socialist past, against the general demonization of the Maoist era. Still, there are a number of problems existed in this cinematic ＂new wave.＂ This paper analyzes a recent example of this tide, The Road （Fangxiang zhi lii, 2006）, and its implications. A careful examination of the film＇s narrative strategy reveals that it is oftentimes entrenched in the bourgeois ideology of ＂human nature,＂ which circumscribes its intended agenda of making a genuine reflection on the past and present of Chinese workers. On the surface, this film offers a positive image of the Maoist period by presenting a vivacious revolutionary work ethic in the female protagonist and her master. However, on a deeper level, the film only gives an impression of pity for this wretched workwoman who has completely wasted her life. Her ＂human nature＂ has been distorted by her socialist work ethic that had been inscribed with imprints of Maoism. In the mean time, the movie＇s repetition of political clich6s against revolutionary discourse, and an artificial binarity between socialism and commercial culture, bring out the real effect that rather than departing from stereotypes, it in effect merely perpetuates the popular narrative that has come to stigmatize the Maoist era. By this strategy, the film also evades the responsibility of accounting for the real reason for the gigantic social-political transformation.
A new trend has emerged in Chinese film over the past two decades in which the story of the working class has been narrated aimed at an authentic representation of the nation＇s socialist past, against the general demonization of the Maoist era. Still, there are a number of problems existed in this cinematic ＂new wave.＂ This paper analyzes a recent example of this tide, The Road （Fangxiang zhi lii, 2006）, and its implications. A careful examination of the film＇s narrative strategy reveals that it is oftentimes entrenched in the bourgeois ideology of ＂human nature,＂ which circumscribes its intended agenda of making a genuine reflection on the past and present of Chinese workers. On the surface, this film offers a positive image of the Maoist period by presenting a vivacious revolutionary work ethic in the female protagonist and her master. However, on a deeper level, the film only gives an impression of pity for this wretched workwoman who has completely wasted her life. Her ＂human nature＂ has been distorted by her socialist work ethic that had been inscribed with imprints of Maoism. In the mean time, the movie＇s repetition of political clich6s against revolutionary discourse, and an artificial binarity between socialism and commercial culture, bring out the real effect that rather than departing from stereotypes, it in effect merely perpetuates the popular narrative that has come to stigmatize the Maoist era. By this strategy, the film also evades the responsibility of accounting for the real reason for the gigantic social-political transformation.
