Abstract
In an era driven by materialism, the sense of the sentimental of home-longing becomes part of the general culture of longing for belonging. The sense of the sentimental homecoming is manifested, projected, sustained and endured in the search for intimacy and belonging. This searching journey also provides the possibility of appreciating the sentimental in Chinese cinema in a more contextual manner. By understanding this, better connections might be provided to the articulation of the intimacy-seeking in the film In the Heat of the Sun (Yangguang canlan de rizi, dir. Jiang Wen, 1994). More broadly this can reveal the adaptation and transformation of the sentimental in Chinese culture.
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Notes
- 1.
Dai **hua discusses the background and some of the works by selected Chinese Fourth, Fifth and Sixth Generation directors. See Dai **hua 戴锦华, Wuzhong feng**g: zhongguo dianying wenhua 1978–1998 雾中风景:**电影文化 1978–1998 [The scenery in the mist: Chinese film culture 1978–1998] (Bei**g: Peking University Press, 2006).
- 2.
Svetlana Boym, The Future of Nostalgia (New York: Basic Books, 2001), 41.
- 3.
Ibid., XIV.
- 4.
“Zhishi qingnian” 知识青年 [Educate Youth], accessed February 21, 2021, http://baike.baidu.com/view/9610.htm. Baidu Encyclopedia is an open-source internet encyclopedia in Simplified Chinese.
- 5.
Guobin Yang, “China’s Zhiqing Generation: Nostalgia, Identity, and Cultural Resistance in the 1990s,” Modern China 3, Vol. 29 (July 2003): 267–268.
- 6.
“Guanyu jianguo yilai dang de ruogan lishi wenti de jueyi” 关于建国以来党的若干历史问题的决议 [Resolution on certain historical issues of the Party since the founding of the People’s Republic of China], The Central People’s Government of the People’s Republic of China, June 23, 2008, http://www.gov.cn/test/2008-06/23/content_1024934.htm.
- 7.
Tonglin Lu, “Fantasy and Ideology in a Chinese Film: A Žižekian Reading of the Cultural Revolution,” East Asia Cultural Critique 2, Vol. 12, Fall (2004): 539.
- 8.
Ibid., 540.
- 9.
Fatelessness was previously published in an English translation by Christopher and Katharina Wilson as Fateless in 1992. It was published in English again in 2004 as Fatelessness translated by Tim Wilkinson.
- 10.
Imre Kertész, Fateless. translated from Hungarian by Tim Wilkinson (London: Vintage Books, 2006), 261.
- 11.
Ibid., 262.
- 12.
Alan Riding, “The Holocaust, from a Teenage View,” The New York Times, January 3, 2006, https://www.nytimes.com/2006/01/03/movies/MoviesFeatures/the-holocaust-from-a-teenage-view.html.
- 13.
Ibid.
- 14.
David J. Davies, “Old Zhiqing Photos: Nostalgia and the “Spirit” of the Cultural Revolution,” The China Review 2, Vol. 5, Fall (2005): 98.
- 15.
Ibid., 99.
- 16.
Ibid., 100.
- 17.
Ibid., 101.
- 18.
Guobin Yang, “China’s Zhiqing Generation,” 267–296.
- 19.
Ibid., 289.
- 20.
Lei Ouyang Bryant, “Music, Memory, and Nostalgia: Collective Memories of Cultural Revolution Songs in Contemporary China,” The China Review 2, Vol. 5, Fall (2005): 163.
- 21.
Guobin Yang, “China’s Zhiqing Generation,” 276.
- 22.
Boym, The Future of Nostalgia, 41.
- 23.
Guobin Yang, “China’s Zhiqing Generation,” 269.
- 24.
Davies, “Old Zhiqing Photos,” 98.
- 25.
Ibid., 102. Emphasis in original.
- 26.
Boym, The Future of Nostalgia, XVI.
- 27.
Ibid., XIII.
- 28.
Ibid., 49. Emphasis in original.
- 29.
Ibid., 41.
- 30.
Ibid., 49.
- 31.
Ibid., 50.
- 32.
Ibid., XIV.
- 33.
Rey Chow, “A Souvenir of Love,” in At Full Speed: Hong Kong Cinema in a Borderless World, ed. Esther C. M. Yau (Minneapolis and London: University of Minnesota Press, 2001), 210.
- 34.
Lei Ouyang Bryant, “Music, Memory, and Nostalgia,” 162.
- 35.
Chow, “A Souvenir of Love,” 210–211.
- 36.
Ibid., 224–225. Emphasis in original.
- 37.
Ibid., 215.
- 38.
Yomi Braester, “Memory at a Standstill: ‘Street-smart History’ in Jiang Wen’s In the heat of the Sun,” Screen 42:4 Winter (2001): 356.
- 39.
Ibid., 351.
- 40.
Ibid., 350.
- 41.
Davies, “Old Zhiqing Photos,”101.
- 42.
Lei Ouyang Bryant, “Music, Memory, and Nostalgia,” 160.
- 43.
Ibid., 161.
- 44.
Ibid., 152.
- 45.
Jiang Wen 姜文, Dansheng 诞生 [Birth] (Bei**g: Huayi chubanshe, 1997), 51.
- 46.
Jie Li, “From Auto-ethnography to Autobiography: Representations of the Past in Contemporary Chinese Cinema,” Senses of Cinema, issue 45 (November 2007), https://www.sensesofcinema.com/2007/feature-articles/chinese-cinema-representations-past/; Fredric Jameson, Postmodernism, or, the Cultural Logic of Late Capitalism (London and New York: Verso, 1991), 287–288.
- 47.
Jiang Wen, Dansheng, 33.
- 48.
Braester, “Memory at a Standstill,” 358.
- 49.
Elizabeth Crosz, “Voyeurism/Exhibitionism/the Gaze,” in Feminism and Psychoanalysis: A Critical Dictionary, ed. Elizabeth Wright (Oxford: Blackwell, 1992), 449.
- 50.
Braester, “Memory at a Standstill,” 357.
- 51.
Ibid., 353.
- 52.
Boym, The Future of Nostalgia, 42–43.
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Miao, H. (2022). Searching for an Alternative Intimacy in Nostalgia: The Sentimental in In the Heat of the Sun. In: The Sentimental in Chinese Cinema. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-88330-0_5
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