This article aims to present the basic characteristics and political function of the centralized planning of film themes in PRC cinema in the so-called “seventeen years” period (1949–1966), with particular attention being paid to attempts made by filmmakers to break through this system by coming up with two distinct film genres: the thriller and the positive comedy. The author explains why the political relaxation of the Hundred Flowers Campaign in 1956 made such bold explorations possible and why they were aborted when the ideology of class struggle was raised again on the CCP political agenda in the late 1950s and again in the early 1960s. The article also examines the contribution made to Chinese cinema by filmmakers engaged in genre innovation attempts in the 1960s. 

This article aims to present the basic characteristics and political function of the centralized planning of film themes in PRC cinema in the so-called “seventeen years” period (1949–1966), with particular attention being paid to attempts made by filmmakers to break through this system by coming up with two distinct film genres: the thriller and the positive comedy. The author explains why the political relaxation of the Hundred Flowers Campaign in 1956 made such bold explorations possible and why they were aborted when the ideology of class struggle was raised again on the CCP political agenda in the late 1950s and again in the early 1960s. The article also examines the contribution made to Chinese cinema by filmmakers engaged in genre innovation attempts in the 1960s.