
How Yukong Moved the Mountains
1976

Representation Score
Fair
1972
Director
Michelangelo Antonioni
Runtime
208 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Antonioni’s documentary stands apart from the Western cinematic hegemony of the early 1970s. By focusing on a non-Western populace, the film disrupts the traditional observer dynamic and provides a systemic look at a culture with different foundational values. The work excels in its racial and cultural centering, showcasing a worldview that prioritizes the collective over the individual. It effectively documents the intersection of people and their industrial environments, from Beijing to Shanghai. However, the film does not engage with modern identity-based frameworks. It lacks representation regarding LGBTQ+ identities or disability, focusing instead on the broader socio-economic landscape of the era.
Category Breakdown
The film does not include any explicit references to LGBTQ+ characters or narratives. Instead, it focuses on collective labor and societal structures.
Women are shown actively participating in cotton factories and collective farming, emphasizing their roles as essential components of a state-driven economic system.
The documentary features an entirely non-Western cast, providing a perspective that diverges from the Eurocentric viewpoint. It offers a detailed look at regional life across China.
The film highlights collective-oriented social structures, such as industrial ports and farms. It celebrates a social order that operates outside of Western liberal traditions.
There is no specific evidence to suggest that disability is a central narrative theme. Characters with disabilities are not used as specific plot devices.
Present on Screen
Limited or Absent
Official Synopsis
A sweeping documentary explores China through its people, showcasing life in Beijing's old city and a bustling cotton factory, a collective farm in Henan, the historic city of Suzhou, and the industrial port of Shanghai, culminating in a vibrant acrobatic performance.

1976

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