A deeper look at the Zhang Yimou spectacular -
aided by an awareness of the film-director's transition from perceptive artist
to stately heritage-peddler - goes some
way to confirm the argument that China's control-freakery still crushes true
individuality and spontaneity. True, there was a strong element of kitsch
nationalism in this staged and triumphal pageant of historical and cultural
achievement. China, apart from North Korea, is probably the only remaining
country that can harness this degree of coordinating energy, focused resources
and (since this is China) sheer multitudes for an event of this kind. The
Pyongyang reference is telling: for all the technical wizardry, in part
it evoked a more sinister world of mass rallies and conformist
ultra-collectivism.
And yet, this was not all it was




