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"In Chinese Film, Jason McGrath traces the varied claims to cinematic realism made by Chinese filmmakers, critics, and scholars. He presents realism as an aesthetic form that negotiates between cultural conventions and the ever-evolving real, envisioning it as more than just a cinematic question and showing how the struggle for realism is central to the Chinese struggle for modernity itself."--

PERFORMING ARTS / Film / History & Criticism. --- Realism in motion pictures. --- Motion pictures --- History. --- Realism in moving-pictures --- Film history, theory & criticism

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Art, Chinese --- Art --- Themes, motives --- Social aspects --- San Xia shui li shu niu (China)

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During the Mao years, laughter in China was serious business. Simultaneously an outlet for frustrations and grievances, a vehicle for socialist education, and an object of official study, laughter brought together the political, the personal, the aesthetic, the ethical, the affective, the physical, the aural, and the visual. The ten essays in Maoist Laughter convincingly demonstrate that the connection between laughter and political culture was far more complex than conventional conceptions of communist indoctrination can explain. Their sophisticated readings of a variety of genres-including dance, cartoon, children's literature, comedy, regional oral performance, film, and fiction-uncover many nuanced innovations and experiments with laughter.

Laughter --- China --- China --- Politics and government --- Social life and customs