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IntroductionChapter One Experiencing Realism or Modernism in Practicing Arts Authenticity,Truth£¬and Art in Frozen£¨1994£©Chapter Two Super¡ªRealism or Sur¡ªRealism in Portraying a£¨Post£©modern Desire£ºRain Clouds over Wushans£¨1996£©Rendition of the SubalternChapter Three Phantasmagoric Realism in an¡°Art Film¡±£ºPortraying Chinese¡°Middle Class¡±in Lunar Eclipse£¨1999£©Chapter Four Onirogenic Realism in Narrating Love Stories£ºSuzhou River£¨2000£©as a Historical AllegoryChapter Five Melodramatic Realism in a¡°Teen's Movie¡±£ºArticulating the Logic of Market Society in Beijing Bicycle£¨2001£©Chapter Six Revolutionary Realism or Socialist Realism Chinese Goodman in Jia Zhangke'S Still Life£¨2006£©Chapter Seven Retrospective Realism in Memorizing the Chinese Working Class£ºOn the Narrative Strategy of The Road£¨2006£©Chapter Eight Critical Realism with the Taint of Religion£ºSalvation and Hope in Luxury Car£¨2006£©Chapter Nine Psychological Realism in the Memory of a Workwoman£ºHow do Chinese Workers Spend their Lives in Weaving Girl£¨2008£©Chapter Ten Hallucinatory Realism in the Eyes ofArtists£ºThe Falsity of Choices in And the Spring Comes£¨2008£©Conclusion On the Merits and Faults of Practicing Realism in Contemporary Chinese CinemaBibliography