The captive audience and Albanian films in Mao’s China

Bibliographic Data

ID11872944
AuthorsXiaoning Lu (0000-0002-5600-4866, SOAS University of London, corresponding author)
Year2020
Volume12
Issue3
Pages216-236
Publication date2020-10-06
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueStudies in Eastern European Cinema (JOURNAL)
Journal identifiersISSN: 2040-350X • E-ISSN: 2040-3518
PublisherTaylor & Francis (PUBLISHER • GB)
DOI10.1080/2040350x.2020.1822587
OpenAlexW3092596286
LanguageEN
Citations received1
References cited11

The ironclad alliance between the People’s Republic of China and Albania during the 1960s is often taken as the unquestioned starting point of transnational film exchanges between the two fraternal socialist states. This article delineates the presence of Albanian cinema in the People’s Republic of China (PRC) from 1949 to 1976, when geopolitical realignments reconfigured the socialist camp, with special attention to Albanian cinema’s position within the filmscape in Mao’s China. Drawing on official news reports, movie reviews and recently published personal reminiscences, and employing the lens of the captive audience, it teases out the multifaceted reception of Albanian films, including the types of engagement that deviate from and challenge the then-prevailing revolutionary discourses. The study thus helps to demystify a reductive understanding of the socio-political significance of Albanian cinema in China

Aesthetics · Alliance · Art · China · Epistemology · Geopolitics · Literature · Media studies · Movie theater · Political science · Politics · Sociology · The Republic · Balkans: History, Politics, Society · Gender Studies · History · Law · Philippine History and Culture · Philosophy · Vietnamese History and Culture Studies

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