This project explores Chinese national cinema through a critical analysis of Farewell My Concubine (1993), focusing on its publicity and reception. Drawing on theories of Semiotics and Italian Neorealism, it traces the evolution of censorship in China and examines Chen Kaige’s film for its profound portrayal of social realities. By analysing the film’s depiction of Peking Opera and shifting socio-political contexts, the project reveals how it challenges state-imposed constraints to critique the erosion of cultural identity and the suppression of artistic freedom under authoritarian regimes. The project invites viewers to critically engage with cinematic elements and connect them to broader social contexts.
