The Lord Is Kind-Hearted And Cannot See The Poor: Social Reflections On The Film”Return To Dust”

Abstract

Chinese cinema has always played an important role in spreading culture and transmitting values. As a kind of audio-visual media, it needs to be able to reflect social reality, moral concepts as well as cultural values in a profound way. However, in China, which has a strict film censorship system, the production and dissemination of films are strictly controlled and restricted by the government censorship system. There is a film Return to Dust, which created heat through many self-media, such as XiaoHongShu and DOUYIN, before its release, in which the previews showed real rural literary scenes that attracted wide attention. After its release, the social aspect of the film explored the deep-seated human emotions and regional issues, and a month later, the film was taken off the shelves, instantly triggering a wide-ranging discussion on censorship standards and artistic freedom [1]. Return to Dust, as a literary film, is sufficiently rich in cultural connotation and social significance for the audience. The film uses linear storytelling to show the current situation of the rural underclass in Northwest China during the four seasons of the year, the social ills and the complexity of human nature, which triggers the audience to think about "suffering". However, it is worth noting that although the film shows the "suffering", it also shows the warmth of the two underclass people, i.e. the goodness and beauty of human nature. However, such films with sensitive social issues are often restricted by the Chinese government's censorship. Exploring the reasons why Return to Dust has not been accepted by the modern Chinese government is not only a critical reflection on the censorship results of the film, but also a profound analysis of the censorship standards, value orientations, and the ideology of the censors behind the censorship system of Chinese cinema