Introduction

As compared to the revolutionary era, people in the People’s Republic of China (PRC) now seem to live in a freer and more relaxed atmosphere, in which they have the freedom to explore desire and consumption in an alleged socialist market characterized by privatization, consumerism, and marketization. Popular culture epitomizes such a market that allows for free consumption and commercialization, as market forces appear to be a dominant factor, among others, in producing cultural commodities. However, current understanding of this socialist market seems to be an overemphasis on the role of the market and belittling of the socialist forces, to the extent that we see discussions about whether or not China is achieving neo-liberal status.1 To further complicate this understanding, I explore the state’s socialist force in regulating feature films and TV series as a window through which to improve our understanding of the ways in which marketized popular culture is a battlefield on which competing ideologies are at odds. Meanwhile, in order to evaluate the effectiveness of the official forces, I also pay attention to cultural producers and consumers, hoping that my research ultimately contributes to the understanding of the state-individual interactions in contemporary China.