This book takes a cultural studies approach to analyse and account for the ways in which questions related to film, literature, cultural production, ideology, social change and modernity were raised in the leftwing film movement of the 1930s. Few would disagree that the 1930s were the most important time in the formative age of Chinese film-making and that leftwing films were the dominant school in China, but we still have not paid enough attention to it. This book hopes to fill this gap.

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