The transition of Mongolian cinema begins with New Historicist advancements in the post-industrial era. Through comparing Old Beast and Mongol: The Rise of Genghis Khan, this paper examines the development of both old and new Mongolian ethnic cinema, focusing on the factors that contributed to the emergence of new Mongolian cinema. Under the influence of multiculturalism, Inner Mongolia has experienced significant social transformation, shifting from a single-ethnic to a multi-ethnic society. Its people have moved from a traditional nomadic lifestyle to a more settled way of life. Against this backdrop, Inner Mongolia has achieved decentralization of Mongolian culture, showcasing both ethnic diversity and cultural plurality. As a result, Inner Mongolian ethnic cinema no longer focuses solely on portraying Mongolian ethnic traits but instead presents the local way of life through a New Historicist lens. Building on this, Old Beast takes a step further and breaks through the confines of New Historicism by emphasizing "historicity" and "contextualization," providing insights for the further development of Chinese Cultural Poetics. This paper aims to explore the transformation of post-modern Mongolian society and the emerging development of New Historicism as reflected in Mongolian cinema.
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