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This article argues for a revisionist reading of The Goddess to redirect critical attention to its film form and narrative style. Yet, it also explores the social-economic and technological conditions of filmmaking in early Chinese cinema that circumvented the filmmaker’s aesthetic choices and devices. A political reading of the film within either the leftist-progressive or nationalist agenda is inadequate in explicating the film’s narrative capacity and affective power in engaging social commentary. Reading The Goddess as a Chinese manifestation of Hollywood’s maternal melodrama has equally dismissed the film’s contestation of the complex political and ideological discourses in which it was produced. Inspired by a neoformalist approach to studying film form and social reality, this article articulates the working of Wu Yonggang’s cinematic style as a crafted combination of artistic choices and interventions, which are made within the classical Hollywood paradigm and Soviet montage, to define an early Chinese cinematic language that is specific to 1930s Shanghai film industry and Chinese society, the filmmaker’s aesthetic pursuit, and Ruan Lingyu’s stardom.

Cosmopolitanism promises to go beyond national thinking and tradition-bound parochialism by reemphasizing the interconnectedness of individuals, communities, and cultures. This article probes the politics of adaptation of the left-leaning Cantonese Union Film Enterprise (Zhonglian 中聯, 1952–1967) in colonial Hong Kong, and scrutinizes how it embraced world literary classics to enhance the prestige of Cantonese films. It focuses on three 1955 adaptations: An Orphan's Tragedy (Guxing xuelei 孤星血淚; from Great Expectations), Anna (Chuncan mengduan 春殘夢斷; from Anna Karenina), and Eternal Love (Tianchang dijiu 天長地久; from Sister Carrie). The founding of Union was a conscientious response of Cantonese film workers to the call of the Cantonese Film Clean-up Campaign (Yueyu dianying qingjie yundong 粵語電影清潔) in the 1940s, launched by leftist filmmakers from Shanghai (Cai Chusheng 蔡楚生, Situ Huimin司徒慧敏) and supported by Cantonese film leaders Ng Cho-fan 吳楚帆 and Lo Duen 盧敦. The study interrogates the predicaments and vicissitudes of Union's cosmopolitan stances as it wrestled with the cultural politics of Chinese cinema during the Cold War. It elucidates the ethnically rooted and culturally cosmopolitan Cantonese progressive cinema. The social realism represented by Union is not local or passé. The Union artists envisioned from below a humane and cosmopolitan community inhabited by workers and intellectuals, locals and diasporic Chinese subjects, which connects people beyond their parochialism and nationhood.