Filming The Everyday: Independent Documentaries In Twenty-first-century China by Paul G. PickowiczFilming The Everyday: Independent Documentaries In Twenty-first-century China by Paul G. Pickowicz

Filming The Everyday: Independent Documentaries In Twenty-first-century China

EditorPaul G. Pickowicz, Yingjin Zhang

Paperback | December 15, 2016

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This cutting-edge book examines the rapidly developing scene of Chinese independent documentary, arguably the most courageous intervention in contemporary Chinese visual culture. The authors explore two areas that are of special interest to China studies and film studies, respectively: (1) filming the everyday in twenty-first-century China to foreground contestation and diversity and (2) exploring the aesthetic of remembering in an embodied documentary practice, which turns the gaze on artists themselves and encourages the viewer's engagement with the filmed subjects and environment. The book's emphasis on contemporary issues and its discussion of aesthetic experiments will appeal to all readers interested in China's culture, media, politics, and society.
Paul G. Pickowicz is Distinguished Professor of History and Chinese Studies at the University of California, San Diego. Yingjin Zhang is Distinguished Professor of Literature and Chinese Studies at the University of California, San Diego.
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Title:Filming The Everyday: Independent Documentaries In Twenty-first-century ChinaFormat:PaperbackDimensions:212 pages, 8.94 × 5.98 × 0.43 inPublished:December 15, 2016Publisher:Rowman & Littlefield PublishersLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1442270241

ISBN - 13:9781442270244

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Table of Contents

AcknowledgmentsPart I: Cultural Context1. Introduction: Documenting China Independently, by Paul G. Pickowicz and Yingjin Zhang2. Who's Afraid of the Documentary Camera? Refiguring Reality, Memory, and Power in Chinese Independent Documentary, by Yingjin Zhang3. For Whom Does the Director Speak? The Ethics of Representation in Documentary Film Criticism, by Yomi Braester,Part II: Rural Reconfigurations4. From Root-Searching to Grassroots: Returning to the Countryside in Contemporary Chinese Fiction and Independent Documentary Film, by Angie Chau5. Zou Xueping's Postsocialist Homecoming, by Paul G. PickowiczPart III: Embodied Filmmaking6. Looking Back while Marching Forward: Reconfiguration of Selfhood in the Folk Memory Project, by Tong Wang7. The Memory Project and Other Ways of Knowing: Filmmaking, Affect, and Embodied Knowledge, by Laura KisselPart IV: Documentary Enactments8. Gendering Intersubjectivity in New Chinese Documentary: Feminist Multiplicity and Vulnerable Masculinity in Postsocialist China, by Alvin Wong9. From Bumming to Roaming: Xu Tong's The Drifters Trilogy, by Yiman Wang10. Documenting through Reenacting: Revisiting the Performative Mode in Chinese Independent Documentaries, by Hongjian WangAppendix: Michael Berry, "Memory/Document: In Dialogue with Wu Wenguang's Memory Project" Documentary FilmographyAbout the Contributors

Editorial Reviews

If you wanted to understand the actual conditions inside a large American corporation, would you look to an expensive infomercial from the office of the CEO or to amateur footage from the cell phones of dozens of unorganized but concerned employees? There is a parallel in China, where makers of independent documentary films are revealing unrehearsed life that state-sponsored film, by its nature, is obliged to conceal. China-watchers take note.