[1] Hao, J. (2004). Hard Carnival (pp. 113-114). Shanghai Sanlian Bookstore.
[2] Lin, X. D., Zhang, Y. X., & Gu, Z. (2003). “Xiaowu” of Hometown Trilogy (p. 23). Chinese Braille Publishing House.
[3] Liu, J. H. (2019). Entertainment of Film Art from the Perspective of Semiotics. Film Literature, No. 3, 12-16.
[4] Pan, L. (2014). On the Underlying Narrative of Jia Zhangke’s Films. Film Literature · Director’s Review, Issue 11, 44-46.
[5] Qi, F. (2018). Jia Zhangke: The Continuous Writing and Spiritual Reflection of the Bottom Reality. China Film Review, Issue 6, 28-30.
[6] Qu, C. J. (2003). The Literature Value and Artistic Taste of Film. Journal of Shanghai Anthropology, No. 2, 5.
[7] Shi, Y. (2011). Analysis on the Cultural Narrative Function of Dialect in Films. Film Literature, 17, 30-31.
[8] Zhao, X. J. (2012). Jia Zhangke’s Films, the Swing between Artistry and Commerciality. Master’s Thesis, Shanghai Normal University.