IntroductionChapter One Experiencing Realism or Modernism in Practicing Arts Authenticity,Truth，and Art in Frozen（1994）Chapter Two Super—Realism or Sur—Realism in Portraying a（Post）modern Desire：Rain Clouds over Wushans（1996）Rendition of the SubalternChapter Three Phantasmagoric Realism in an“Art Film”：Portraying Chinese“Middle Class”in Lunar Eclipse（1999）Chapter Four Onirogenic Realism in Narrating Love Stories：Suzhou River（2000）as a Historical AllegoryChapter Five Melodramatic Realism in a“Teen's Movie”：Articulating 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：On the Narrative Strategy of The Road（2006）Chapter Eight Critical Realism with the Taint of Religion：Salvation and Hope in Luxury Car（2006）Chapter Nine Psychological Realism in the Memory of a Workwoman：How do Chinese Workers Spend their Lives in Weaving Girl（2008）Chapter Ten Hallucinatory Realism in the Eyes ofArtists：The Falsity of Choices in And the Spring Comes（2008）Conclusion On the Merits and Faults of Practicing Realism in Contemporary Chinese CinemaBibliography