In this article I attempt to analyze Lixin Fan's debut documentary Last Train Home and Jia Zhangke's film Mountains May Depart with a focus on their representation of migration and home. The two productions both adopt a realistic mode to show how migration changes family structure and familial relationship when China is rising to become a global economic giant in the new millennium. While Last Train Home centers on the plight of the underclass in their domestic migration from rural to urban areas, Mountains May Depart expands to transnational migration of the rich. I argue that the two productions show the common traumas-collapse of familial structure and loss of intimate human connection, experienced by people with different class backgrounds in the age of globalization characterized by heightened domestic and transnational migration.
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