This paper examined how Liu Na'ou, Mu Shiying and Eileen Chang used the technique of “visual expression” to imagine China in their novels. In previous studies, Liu Na'ou’s and Mu Shiying’s novels were primarily examined relative to Japanese Neo-Sensationism and the writings of Paul Morand. This paper highlighted that in addition to mere assimilation of these foreign literary elements into their works, Liu Na'ou and Mu Shiying used “visual expression” to develop another narrative paradigm with local color. Liu Na'ou’s emphasis on the visual quality of movies not only raised the importance of camera vision in literature, but also motivated greater use of vision associated with the camera in his novels. Following the same approach to use “visual expression” as a narrative strategy, Mu Shiying described the unequal distribution of wealth in Shanghai through fostering the use of montage and adapting the classical Hollywood narrative into his works. By doing so, the technique of “visual expression” was made even more responsive to the local context. Eileen Chang was another great writer after Liu Na'ou and Mu Shiying. She strived to harmonize “visual expression” with the mode of narration based on her knowledge in traditional Chinese novel as well as the Mandarin Duck and Butterfly School. According to Chinese grammar, the subject of a sentence could be omitted under certain circumstances. Also, there are no tenses and active/passive voice distinction. Eileen Chang capitalized on these unique properties of Chinese grammar to transform a character’s vision into a narrator’s vision. This conversion allowed the narrator to articulate ideas without restrain, providing the author with additional opportunities to further elaborate and evaluate “visual expression” through the narrator’s voice. Then, the paper explored the roles of Liu Na'ou and Mu Shiying in the field of literature. A particular focus was put on how their “visual expression” was perceived to be closely associated with imperialism and colonialism. Analysis suggested that Liu Na'ou’s and Mu Shiying’s imagination of China were not well-received by the entire literary community. On the other hand, Eileen Chang’s approach to harmonize “visual expression” with the realist mode of narration was more aligned with the need for reconciliation during the war period. Her “visual expression” provided a medium to convey the modern thoughts of China, which in turned encouraged more in-depth reflections on these thoughts.