As there is (finally) also a kind of enthusiasm for the visual redefinition of not-so-long ago history. In paradoxical reaction to official commemorabilia, the planners behind this Shanghai event here reverse the implicit claim of Fortress Beijing (Tiananmen’s pre-1989 configuration, endlessly recapitulated on postage stamps) to transcend the Baroque fripperies of the Concessions. (The code through which colonialism is daily toppled). This comes out unmistakably in the middle of the tape where we suddenly are shown the emblematic China Pavilion of 2010 sneaking furtively (or being welcomed ironically?) into the the line-up, but only as shortlived phantasm. That of course does not declare a perverse Colonialist nostalgia. But it surely announces the end of the Beijing (and CCP) centered order of things, just as surely did Zhang Yimou’s magic flying carpets of 2008.
But perhaps all of this will make better sense once we have a chance to review the Beijing version, staged in the (Ming-Qing) Temple of Heaven.