Abstract
ABSTRACT Using the concept of nostalgia, this paper scrutinizes the Chinese countryside depicted in film; focusing on sharp changes resulting from modernization and nation building. Three frameworks are discussed. The first is a nostalgic idealization, and the second is an ambivalent nostalgia towards the countryside where traditional values and customs such as lack of civility, cultural repression, and poverty are criticized. The third – an alienated nostalgia – is more recent, and is linked to an emerging “rural crime” genre. This article suggests that the Chinese countryside in film is not merely a place or background, but a narrative, aesthetic, and emotional experience.
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