Abstract and Keywords
This article presents a short account of modernism in China. It explains that the modern is, and has always been, a political project, and that despite the political impetus to modernism, one must also recognize as independently valuable the aesthetic adventures on which so many writers, artists, and film makers embarked over the 1920s–40s. The article acknowledges that the Chinese modern has had a separate rendition across the years between the Socialist Liberation in 1949 and 1980.
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