Abstract
ABSTRACT: The Hui (Chinese Muslims) have been either absent from or misrepresented in mainstream cinema in China. Between 2007 and 2016, a group of young Hui filmmakers actively used the wei dianying (often translated as “micro-film”) format to explore Hui identity, tradition, and everyday life. Through a close analysis of representative films, this article argues that Hui micro-films challenge mainstream representations, actively constructing the Hui’s ethno-religious identity and negotiating the tension between their twin identities—Chinese and Muslim—in a context in which the state enforces secularization and assimilation. This study shifts the existing literature’s focus on negative representation of the Hui in films by Han filmmakers to empowering narratives from the Hui themselves.
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