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State-Engineered Miracles: Affective Narrative and Political Closure in Nice View (奇蹟·笨小孩, 2022)

  • Cross-Cultural Studies
  • 2025, 76(), pp.157~183
  • DOI : 10.21049/ccs.2025.76..157
  • Publisher : Center for Cross Culture Studies
  • Research Area : Humanities > Literature
  • Received : September 10, 2025
  • Accepted : October 7, 2025
  • Published : October 31, 2025

Lee Boram 1

1서울대학교

Accredited

ABSTRACT

This article explores how Nice View (2022) constructs the concept of “miracle” not as a narrative of individual perseverance but as a result of state-engineered arrangements of time, space, and subjectivity. The film delineates three key moments: 2013, marking the beginning of regulatory crackdowns and social reordering; 2019, signifying the end of pre-pandemic achievement and stability; and 2022, characterized by renewed uncertainty. This tri-layered temporal structure reflects a politically curated sequence rather than a natural chronology, shaped by the state’s framing. Shenzhen, depicted as both a symbol of reform and a stage for national progress, obscures the inequalities and sacrifices of its peripheries within a narrative of affective optimism. The perseverance and solidarity of Jing Hao and the “miracle squad” transform systemic deficiencies into emotional fulfillment, aligning the narrative with the state’s vision of collective advancement. The concluding message—“everyone is a creator of miracles”—highlights that such inspiration is inextricably linked to institutional support from central and local authorities. By demonstrating how Nice View translates affective optimism into a political narrative of legitimacy, this study critically examines the cultural-political logic of Chinese cinema in the New Era.

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