Seriousness, Banter, and Vulgarization: The Shift in the Meaning of Sex and Violence in Audio-Visual Works of the Northeastern Renaissance

The term “Northeastern Renaissance” carries a dual meaning: on the one hand, it represents an artistic movement that emerged in the late 2010s in the three Northeastern provinces of the People’s Republic of China (as well as the eastern regions of Inner Mongolia), bearing a manifesto-like quality; on the other hand, it is also ironic, as the Northeastern provinces have long been perceived as a region that was historically beyond the reach of China’s traditional elite culture, thus having little to revive or restore. This duality is reflected in the audio-visual works of Northeastern post-industrial culture, particularly in their depiction of sex and violence. These works exhibit an ambiguous attitude toward sex and violence—both critical and humorous. Building upon the absurdist foundation of Northeastern post-industrial culture, as discussed in the author’s 2024 academic presentation, this paper further explores the dual nature of sex and violence. The structure of the paper is as follows: The first section reviews my 2024 discussion on the absurdity in Northeastern post-industrial audio-visual works. The subsequent chapters focus on Drifting Away, a crime drama that aired in 2025, whose narrative elicited polarized reactions from the audience—some fervently idolized the four butcher-like serial killers, while others found the moral implications deeply unsettling. Finally, the author will analyze this contrast through the lens of the duality in Northeastern post-industrial culture, demonstrating how the intersection of Northeastern migrant culture and post-industrial conditions has given rise to a satirical art form that challenges traditional Chinese moral values.