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