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Cinematic Amnesia as Remembering: Coming Home (2014) and Red Amnesia (2014)

Department of World Languages and Cultures, University of Nevada, Las Vegas, NV 89154-5047, USA
Received: 29 September 2018 / Revised: 5 November 2018 / Accepted: 16 November 2018 / Published: 21 November 2018
(This article belongs to the Special Issue Memory, Affect, and Cinema)
This article examines the trope of amnesia—the crisis of memory—in two recent Chinese-language films dealing with traumatic memories of the Cultural Revolution and its aftermath: Zhang Yimou’s Coming Home (Guilai, 2014) and Wang Xiaoshuai’s Red Amnesia (Chuangru zhe, 2014). Cinematic representation of real and symbolic amnesia, I argue, can be an affective way to overcome historical amnesia, both institutionalized by the Party-state and privatized by individuals. By exploring the dynamics between forgetting and remembering at both collective and individual levels, we can reach a deeper understanding of the profound impact of the Cultural Revolution and its present-day repercussions. View Full-Text
Keywords: amnesia; China; the Cultural Revolution; memory; trauma amnesia; China; the Cultural Revolution; memory; trauma
MDPI and ACS Style

Bao, Y. Cinematic Amnesia as Remembering: Coming Home (2014) and Red Amnesia (2014). Arts 2018, 7, 83. https://doi.org/10.3390/arts7040083

AMA Style

Bao Y. Cinematic Amnesia as Remembering: Coming Home (2014) and Red Amnesia (2014). Arts. 2018; 7(4):83. https://doi.org/10.3390/arts7040083

Chicago/Turabian Style

Bao, Ying. 2018. "Cinematic Amnesia as Remembering: Coming Home (2014) and Red Amnesia (2014)" Arts 7, no. 4: 83. https://doi.org/10.3390/arts7040083

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