Jia Zhangke’s Filmic World

Dear Colleagues,

I’m happy to announce the publication of my new book China in the Age of Global Capitalism: Jia Zhangke’s Filmic World, published by Routledge. This book maps ten of Jia Zhangke’s films onto three major themes: Jia’s filmmaking and China in the market society; truth claims and political unconscious; “post-socialist modernity” in the age of globalization.  By analyzing Jia’s narrative strategies, the author strives to discuss the impact of the larger political economic changes on ordinary people in Jia’s films and the director’s cultural political notion. This book will be of interest to students and scholars of Chinese film studies, as well as other disciplines, such as political science, sociology, anthropology, etc.

For more details, click the following link,


“The manuscript would be the first publication in English scholarship that offers a systematic study of the major works of Jia Zhangke, arguably the most prominent figure of contemporary Chinese cinema. The study will contribute a much-needed auteur study to Chinese and international film studies. Through its commendably meticulous and in-depth examination of Jia Zhangke’s films spanning from the late 1990s to the present, the manuscript also provides valuable insights and reflections on the consequences of China’s post-socialist transformations and those of the sweeping trend of globalization. It offers sharp analyses/criticisms of not only Jia’s filmmaking but also China’s postsocialist condition.”—-Comments by the anonymous reader for the Routledge Press

By the way, I still do not know who the anonymous reader is, and I would express my sincere gratitude to his/her kind remarks and recommendation. If he/she wants to let me know who he/she is, please contact me at the following email address:

–Xiaoping Wang <wxping75@163.com>

Table of Contents


A Lyricist of China’s “Postsocialist Modernity” in the Age of Neoliberal Transformation

Part I

Chapter One: Recording Human Affection within Social Transmutation: Portrayal of Early Reform China in Platform (2000)

Chapter Two: Morality and Love in Post-Revolutionary China: A Pickpocket’s Being and Nothingness in Xiao Wu (1997)

Chapter Three Hedonism and Nihilism in the Consumerist Wasteland: Unknown pleasures (2002) as a Fable of Drifters in a Market Society

Part Two

Chapter Four: Post-Modern Paradise or Post-Socialist Fantasy? New Proletariat and the Commodity World of Alienation in The World (2002)

Chapter Five: Revolutionary Realism or Socialist Realism? Chinese Goodman in Jia Zhangke’s Still Life (2006)

Chapter Six: Contradictions of Contemporary China from An Elite’ s Perspective: Sound and Fury in A Touch of Sin (2013)

Part Three

Chapter Seven: Orchestrating Workers’ Memories and Chinese National History: 24 City (2008) as a Fake Documentary

Chapter Eight: A Postmodern Narrative of Historical Fragments and Elitist Historicism: On the Fiction and Reality in I Wish I Knew (2010)

Chapter Nine: “China Consciousness” in the Age of Globalization and Its Shortage:Mountains May Depart (2015) as a Postmodern Film


The Cultural Politics of the “Poetics of Vanishing”

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