Dwa powroty
Two Returns

Summary/Abstract: The author analyses the “Springtime in a Small Town” (2002) by Tian Zhuangzhuang as a reinterpretation of a version made by Fei Mu (“Spring in a Small Town”) in 1948. This latter film which was rejected by the authorities, remained hidden and forgotten for decades. In 2002 it was declared to be the best Chinese film of the century. The author explains the differences between the films by the fact that Fei Mu made a film that was contemporary to himself, while Tian made a historical film, aiming to maintain the effect of distance. Both artists used the “detour” strategy and relied on similar formal solutions, integrating the aesthetics of old Chinese painting with camera work.

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