Abstract:The censorious film industry of the People's Republic of China (PRC), though mercurial and mutating apace, has elicited a fixed set of critical axioms. According to standard accounts, 1 mainland cinema is inimical to creative free expression. State regulations on screen content, curbing depictions of crooked cops, demonic ghosts, and homosexuals (among sundry other phenomena), severely curtail the filmmaker's choice of subject matter. A second claim holds that Beijing censorship stymies narrative innovation. S… Show more
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