Based on Yellow Earth (1984), which of the following best captures Clark’s view of the filmmakers?

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Question focus: Clark’s view of the filmmakers in Yellow Earth (1984) is asking us to identify how the film positions China, culture, and national imagery through its cinematic choices.
Option 1: 'They use traditional Chinese narratives to reinforce pride in national achievements and promote political stability.' This reads as a more propagandistic, state-promoting reading. While Yellow Earth engages with Chinese rural life and national themes, it tends to resist simple triumphalism and avoids straightforward propaganda, instead presenting ambiguity and tension between heritage and progress. Thus this option risks overclaiming a monolithic national message.
Option 2: 'They romanticized rural resilience as a metaphor for national unity, using archetypal characters to reconcile traditional values with socialist progress.' The film does not primarily shore up a tidy unity through archetypes; it emphasizes ambivalence, fragmentation, and the friction between tradition and modernity. This makes the option less faithful to the film’s nuanced tone, which resists neat reconciliation rather than celebrating it.
Option 3: 'They used film to depict a nuanced and unsettled vision of China, revealing an indistinct line between national and cultural pride.' This choice captures the core of Yellow Earth’s critique: it presents a China that is not monolithic, showing how national pride and cultural identity bleed into each other in unsettled, ambiguous ways. The filmmakers’ approach foregrounds complexity over certainty, aligning with the film’s reputation for subtle, unresolved tonalities rather than didactic messaging.
Option 4: 'They celebrated rural traditions and Communist ideals, using folklore to affirm a unified national identity.' While the film engages with rural settings and traditional motifs, it does not simply celebrate them or present an unambiguous endorsement of Communist ideals. The tone is more exploratory and critical, challenging easy uniformity rather than affirming it.
Option 5: 'Their depiction of cultural primitivism signals a rejection of international cinematic norms in favor of preserving indigenous film language.' Yellow Earth is often discussed for its formal experimentation and its place within international cinema, but portraying it as a pure rejection of international norms is an overstatement. The film engages with global cinematic discourse while probing its own cultural questions, rather than a blanket isolationist stance.
In summary, the strongest alignment with Yellow Earth’s approach is the third option, which describes a nuanced, unsettled portrayal of China and the fluid boundary between national and cultural pride, reflecting the film’s delicate treatment of identity and state imagery. The remaining options tend to oversimplify, idealize, or mischaracterize the film’s complex stance on nationalism, tradition, and modernity.

ASIA_V 355 012 2025W1 CR 5

Based on Yellow Earth (1984), which of the following best captures Clark’s view of the filmmakers?

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