Film in Contemporary China by Geroge S. Semsel, Chen Xihe, Xia Hong

By Geroge S. Semsel, Chen Xihe, Xia Hong

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By Geroge S. Semsel, Chen Xihe, Xia Hong

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The film describes exhaustively and convincingly how he actualizes his views on material, foreigners, humanity and the world through his arduous exploration in his undertaking and his diligence in writing books and establishing theories. He embodies the uprightness of a generation of progressive youth and suggests the inevitable flowering of reform. What perplexes us further, however, is that Liao Xingming's ideas and understandings are not pursued to the end of 20 The Call for New Social Concepts the film.

BACK TO REALITY FROM THE OTHER SHORE On what, then, should we focus our first annual meeting? I think we should focus mainly on innovation, in our ideas, in our attitudes toward life and in our ideas about film. It seems to me that socialism in China is reawakening. The wave of reform now sweeping the country is a great new beginning, in which Marxism inherits ideologically the tradition of The Communist Manifesto and redefines the road it takes. If we fail to recognize this or underestimate it, our cinema will not keep up with the times, and there will be no tme emancipation of the mind.

Should we attribute Liao Xiaoqin's degenerate act to the Sonys and Nationals and the like? If we do, would it be justifiable to close the doors of the country to international intercourse once again? If we did, would that mean the Chinese workers would be forever poor and underdeveloped? In the final analysis, materialism, no matter which country it comes from, is created by the working class. The reason Liao Xiaoqin goes astray lies in her uncivilized attitude toward materialism, which leads her to reap without sowing and to ignore work and creativity.

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