Conclusion

Ihave researched filmic and TV representations of three forms of subjectivity in order to understand how cultural producers negotiate and create within a restricted creative system. Screen products allow us to investigate the complex power dynamics interwoven by the cultural policies of zhuxuanlu and censorship, cultural workers, and viewers, in which power and agency is executed, affirmed, and reclaimed, yet also restrained or counterbalanced by opposing forces. Although the state, in managing cultural policies, has structural supremacy in attempting to manipulate ideology in screen products, its cultural policies are by no means omnipotent or boundless. My six chapters have illustrated that cultural workers and viewers are active participants in the production and interpretation of cultural products in general and screen products in particular, and they have provided answers to the question of “How far can we go?” that I posed in the Introduction.