Written by Kwai-Cheung Lo.
The emphasis on common linguistic expression in the films of the People’s Republic of China (PRC) has been intimately tied to anxiety and angst in a multi-national and multi-lingual state. In the mid-1950s, state-owned studios began to produce films about the 55 officially recognized ethnic minorities in order to propagate ethnic policy, foster national unity and educate mass audiences about China as a multinational country even though more than 90 percent of its population is Han. Minority nationality cinema (少数民族电影）became a common and widely-circulated term. However, China’s ethnic minority film is not exactly a genre in itself, since it encompasses many different genres including spy thrillers, adventure, war films, costume drama, musical, romance, comedy, melodrama and children’s movies. It quite often combines multiple genres within one film. Continue reading “China’s Ethnic Minority Language Film”