Abstract
AbstractIt is not a custom in Chinese cinema to use marginalized characters and disadvantaged groups as protagonists and to pay close attention to their personal sentiments. In the last decade, however, this subject has gradually become important. Sentiment is the immediate expression of individual emotion and the focus of natural, social, and psychological ecology. This article will explore the social and economic mechanisms that underlie the sentiments of four categories of marginalized characters in Chinese films—rural women, people with serious illnesses, criminals, and daydreamers—and will shed light on a little‐known side of a rapidly developing China.
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