Abstract
Chen Kaige’s 1991 film Life on a String—like the Shi Tiesheng story “Like a Banjo String” that it is based on—is told through the senses of a blind storyteller and musician. Both attempt to transmit the acoustic cosmos through the use of music and sound rather than the conventional use of visual perception to reimagine alternative forms of cognition. Hui Faye Xiao shows that despite how these experiments in literature and film may challenge reliance on the voyeuristic nature of visual apprehension to reveal a powerful set of alternative strategies for imagining worlds into being, their true potential remains locked behind restrictive gendered body politics.
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