The recent renaissance in Chinese (and Chinese-American) Science Fiction has been incredible, and as the article mentions, much of this work is a tool of "subtl

The recent renaissance in Chinese (and Chinese-American) Science Fiction has been incredible, and as the article mentions, much of this work is a tool of "subtle dissent". I've been surprised as to how much Mainland authors have been "getting away" with. An excellent example is Hao Jingfang's "Folding Beijing", which is a wonderful critique of contemporary (Chinese) society. Ken Liu's translation is freely available here: https://uncannymagazine.com/article/folding-beijing-2/ https://uncannymagazine.com/article/folding-beijing-2/ Translating monumental works like The Wandering Earth or even the full trilogy of the Three-Body Problem to the screen is already a tremendously challenging undertaking. Adding on top of that institutional problems within the Chinese film industry, the desire to cash in and popularize these works with spectacular but superficial treatments (e.g. "The Wandering Earth" movie), and the heightened level of censorship that movies must undergo, and I don't have much hope for film adaptations of these books. The best Chinese/Chinese-American production I've seen of late is the "Good Hunting" episode of "Love, Death & Robots" on Netflix, based on the short story of the same name by Ken Liu. Although the story is in part anti-colonial, I seriously doubt the story would have survived intact and be as well made if it were made in the Mainland. ("Good Hunting": http://strangehorizons.com/fund_drives/2012/special-issue-hunting1-f.shtml http://strangehorizons.com/fund_drives/2012/special-issue-hu...)