Schrijf een review. E-mail deze pagina. Uitgever: Hong Kong University Press. Samenvatting The New Chinese Documentary Film Movement is a groundbreaking project unveiling recent documentary film work that has transformed visual culture in China, and brought new immediacy along with a broader base of participation to Chinese media.
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As a foundational text, this volume provides a much-needed introduction to the topic of Chinese documentary film, the signature mode of contemporary Chinese visual culture. These essays examine how documentary filmmakers have opened up a unique new space of social commentary and critique in an era of rapid social changes amid globalization and marketization. This volume will be critical reading for scholars in disciplines ranging from film and media studies to Chinese studies and Asian studies. Toon meer Toon minder.
Recensie s Timely and engaging, this is the first critical volume in English on the emergence and flourishing of the new documentary movement in China in the last two decades. A border-crossing effort by Chinese and Western scholars, joined by the leading independent documentarian Wu Wenguang, the informative and provocative writings here shed new light on the complex relationships between everyday life and media, public culture and social change in contemporary China.
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The story of contemporary Chinese documentary cinema begins with a bang. In the late s, all nonfiction media in China was controlled by a repressive government. The dominant style of documentary, mostly on television, had been one of highly choreographed socialist realism, telling stories from a top-down perspective designed to reinforce the official government ideology.
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- The New Chinese Documentary Film Movement: For the Public Record.
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It began in an unlikely place: the state-controlled media engine, China Central Television. Unsurprisingly, its bleak view of Chinese conservatism and isolationism inspired a lot of debate. It has been called a primary inspiration for the student demonstrations that ignited the following spring.
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In roughly the same moment, filmmakers in Beijing began to dive into independent documentary production, mostly using TV equipment. Not necessarily even living in Beijing legally, they create films, paintings and theatrical productions while struggling to survive.
Its spontaneous style was a major break from socialist realism, and its makeshift aesthetics would become the predominant form of the movement. These new films were filled with subject interviews, giving a voice to those who had previously been simply objects of study and manipulation.
The filmmakers embraced a verite style, and saw themselves as simply individuals with cameras, documenting the story of Chinese society from the bottom up. They often referred to themselves as artisans rather than artists, de-emphasizing their active authorship. The subject matter is the message.
The message is that not all people are well-served by current policies of socialist market reform. That is, NDM filmmakers and visual artists have intentionally subverted official aesthetic and representational codes in order to carve out their own niches within existing cultural industries. Several founding NDM members have gone on to successful careers as influential producers in television and film. Her research reveals that from a formal perspective, many of the techniques adopted by these directors were derived from domestic photographic circles and foreign cultural inflows.
The distinction is not inconsequential.
The case thus rises and falls on the degree to which the NDM can be portrayed as a coherent, purposive, and Promethean historical actor. Just as the Fifth Generation myth has fallen prey to revelations of state complicity, post-fame excess, and Fourth Generation influence, so too does the NDM appear perilously vulnerable to revisionist attack.
In short, Wu claims that his experience working alongside Wiseman convinced him to quit the avant-garde entirely—to become a truly independent agent.
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