Labor of Making-Do: Precarity and Subjectivity in Lucky Dog (2007) and Piano in a Factory (2011)

The Chinese state-owned enterprise (SOE) reform at the end of the twentieth century displaced millions of workers into a rapidly shifting market. How do displaced workers navigate the coexistence of historical structures, of relations of production and social reproduction, both old and new? This article takes up these questions through two films by director Zhang Meng—Piano in a Factory and Lucky Dog—that center on former SOE workers amidst postsocialist China’s new economic order. In both films, characters navigate life outside the SOE structure by improvising with limited resources and repurposing what remains available, by way of both creativity and constraint. Reading these acts, this article proposes the term labor of making-do to name a practical, creative activity through which subjects navigate limited material conditions, competing subjectivities, and disrupted social relations in the shifting reality. Drawing on embodied socialist skills and memory, making-do as a particular form of labor reproduces subjects in a new historical structure. In the face of the market, it sometimes functions outside market logics. While informed by the historical legacy of the socialist ideology of labor, the labor of making-do is not primarily a nostalgic attempt to restore socialist ideals; nor is it a deliberate resistance to capitalism. Rather, it demonstrates a lived, spontaneous and often unglamorous process by which precarious subjects negotiate sustenance and survival, and through which revised subjectivities are produced. It is through such contradictory and quotidian processes that social reproduction unfolds across coexisting historical structures.