ABSTRACT
The Chinese West This chapter will examine Ning Hao’s No Man’s Land (2013) and Gao Qunshu’s Wind Blast (2010), two practically unknown Chinese Post-Westerns. In assessing these two films, I will place them in the ambit of the international Western form while recognising their identities as Chinese Post-Westerns. Campbell states that Post-Westerns ‘refuse to dwell in the nineteenth-century moment of the classic Western but rather explore its divergent histories by veering into and across unexpected, uncanny landscapes’ (Campbell 2013, 2). Both films are set in the present and have no connections whatsoever to the nineteenth century. Their landscapes are uncanny, if only because they resemble the American West, and we see cars veering into and across these landscapes, attesting to the modernity of the times, though horses are also used.
