Abstract
Almost immediately after the Great Proletarian Cultural Revolution commenced in China in the 1970s, two left-wing artists, the Italian director Michelangelo Antonioni and Dutch director Joris Ivens came to China to make documentaries at the invitation of the Chinese government. This article analyzes their different relationships with China, their different motivations and methods in film-making, as well as the different standpoints and the consequential differences in film language and points of view as reflected in the commentaries etc. The last section of the article discusses the question of making an appropriate historical appraisal of How Yukong Moved the Mountains and its significance.
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