ABSTRACT
Jia Zhangke emerged in the second wave of the trend of “independent filmmaking”; however, he has become its most prominent figure. To understand Jia’s works and the preconditions for his appearance in China’s cinematic world, it is necessary to learn the history of China’s reform and opening-up. In accordance with the gradual yet drastic transformation, the narrative in Jia’s movies is often documentary-inflected and concerns average folks with a humane spirit. Social consciousness or conscience can be expressed in differing ways and with diversified directions. What Jia focuses on is the “politics of dignity,” which is expressed in his often-allegorical renditions. Accordingly, to apply an allegorical reading of Jia’s cinematic productions is the most helpful way to delve into his political unconscious and to examine his cultural-political ideas is the most convenient method to explore the allegories of his cinematic works. Thus far, Jia has produced 10 feature films, which can be roughly grouped into three categories. The author looks at the contents and the forms of the films in these categories and briefly discusses their merits and faults, which are simultaneously the structure of the three parts of the present study.
