Moulding the Socialist Subject: Cinema and Chinese Modernity 1949-1966

Contents
Acknowledgements
Figures
Introduction
	1 The Socialist Subject for a New China (1949–1966)
	2 Cinema within a Socialist Society of Spectacle
Chapter 1 Terror and Mass Surveillance: the Counterespionage Film
	1 The Counterespionage Film and Political Campaigns against Counterrevolutionaries
	2 Cinematic Articulation of Mass Surveillance: The Might of the People
Chapter 2 The New Physical Culture and Volatile Attractions: the Sports Film
	1 The New Physical Culture
	2 Promoting Workers’ Sport and Heterogeneous Laughter: Trouble on the Basketball Court and Big Li, Young Li and Old Li
	3 Sports, Ethics, and Melodramatic Imagination: Woman Basketball Player No. 5 and Ice-Skating Sisters
Chapter 3 Ethnicity and Socialist Fraternity: the National Minority Film
	1 Reconfiguring the Ethnic Landscape: From Ethnicity to Nationality
	2 The National Minority Film
	3 Flames of War in a Border Village: Cross-Ethnic Performance and the Politics of Recognition
	4 Daji and Her Fathers from Page to Screen: Typifying Ethnic Fraternity in Socialist China
Chapter 4 Modeling the Model: Red Stardom
	1 Problematizing “the Star”
	2 Star Image
	3 The Stanislavski System and Modeling the Red Star
Chapter 5 The Cultural Politics of Affect: Villain Stardom
	1 Negative Characters, Performance Context, and Production of Affect
	2 Villain Performance as Negative Pedagogy
Chapter 6 Mobile Attraction: Itinerant Film Projectionists and Rural Cinema Exhibition
	1 Itinerant Film Projection: a New Attraction in Rural China
	2 Rural Film Exhibition: Problems and Challenges
	3 Film Projectionists and Their Machines
	4 Film Projectionists and Their Exhibition Practices
Conclusion
Bibliography
Filmography
Index