(Un-)Folding hollywood and new Chinese subjectivity through PRC’s minority national films in the 1950s and 1960s

Perhaps the cinematic world should be envisioned as an inseparable, folded totality in which any visible and discernible distinction is only a local operation. The so-called world of enclosures is actually never closed, and the seemingly distinct is not necessarily separated. Chinese socialist cinema of the 1950s to 1960s was never anti-American as generally presumed. Communist China’s act of expelling Hollywood movies at the beginning of the Korean War (1950-53) was not necessarily a rupture or a cut in the continuity of fi lmic relationship, but rather an infl ection point, a zigzag, or a sinuous fold.