Palgrave Macmillan
A comprehensive history of how the conflicts and balances of power in the Maoist revolutionary campaigns from 1951 to 1979 complicated and diversified the meanings of films, this book offers a discursive study of the development of early PRC cinema. Wang closely investigates how film artists, Communist Party authorities, cultural bureaucrats, critics, and audiences negotiated, competed, and struggled with each other for the power to decide how to use films and how their extensively different, agonistic, and antagonistic power strategies created an ever-changing discursive network of meaning in cinema.
