Some sections of the chapters in this book have been published in distinguished international academic journals. They had undergone minor revisions before being included here. I would like to thank the journal editors and anonymous reviewers for their comments and advice.
Part of the introduction has appeared as “Social Democracy or Neoliberal Freedom? Globalization and Contemporary Chinese Intellectual Politics,” in Critique: Journal of Socialist Theory, vol. 40, no. 4, 2012, pp. 511–531.
The first section of the third chapter has appeared as “Presenting an Artificial Dilemma for the Working Class: On the Narrative Strategy of The Road,” Frontiers of Literary Studies in China, vol. 8, no. 4, 2014, pp. 555–574.
The second section of the third chapter has appeared as “The Memory and Experience of a Workwoman: How do Chinese Workers Spend their Lives in Weaving Girl (2008),” Asian Journal of Women’s Studies, vol. 22, no. 3, 2016, pp. 355–371.
The first section of the fourth chapter has appeared as “Enchantment of Commoditized Desires in Postsocialist China: Rainclouds over Wushan (1996) as a Postmodern Film,” Postmodern Culture, vol. 25, no. 1, 2014.
The second section of the fourth chapter has appeared as “Chinese Good Man in the Age of Neoliberal Reform: Representation of the Subaltern in Jia Zhangke’s Still Life (1997),” Politics and Society, vol. 1, no. 1, 2013, pp. 143–160.
The second section of the sixth chapter has appeared as “Voicing Concerns over Women’s Destiny in the Market Society: Lunar Eclipse (1999) as an ‘Art Film’,” in Third Text, vol. 30, nos. 3–4, 2016, pp. 291–307.
The second section of the sixth chapter has appeared as “Love in the Changing Society over the Past Half-a-Century: Suzhou River as a Historical Allegory,” Frontiers of Literary Studies in China, vol. 7, no. 4, 2013, pp. 690–705.
The first section of the seventh chapter has appeared as “Transformation and Identification between Two Generations: Shanghai Dreams as a Political Melodrama,” Cambridge Journal of China Studies, vol. 11, no. 3, 2016, pp. 21–38.
I also would like to thank those students having attended my graduate seminar class of contemporary Chinese cinema and society at Xiamen University for their original ideas and feedbacks during the class discussions, which pushed me to re-examine my thoughts. They include Dr. Alberto Castelli, Todd Felton, Katja Supp-Zesewitz, Hana Sucha, Marsela Musabellu, Justine Gustafson, A. Joshua Chiatovich, Manuel Rigger, Viktoriia Galunova, Larissa Quinn, Jolien van de Sande, Andreas Goller, Eda Cetinel, and Rauf Oran. I also would like to thank those Chinese students who have participated in my undergraduate class, Appreciation of Chinese Film, at Beijing Normal University, Zhuhai campus; Xiamen University and Tan Kah Kee College; respectively where I have taught, and at Huaqiao University where I am teaching, for their inspiring feedback in the class.