Catalogue


Independent Chinese documentary [electronic resource] : from the studio to the street /
Luke Robinson.
imprint
London ; New York : Palgrave Macmillan, 2013.
description
viii, 198 p. ; 23 cm.
ISBN
023029829X, 9780230298293
format(s)
Book
More Details
imprint
London ; New York : Palgrave Macmillan, 2013.
isbn
023029829X
9780230298293
restrictions
Licensed for access by U. of T. users.
contents note
Mapping independent Chinese documentary -- Metaphor and event -- Time, space and movement -- Ethics, the body and digital video -- Sound and voice.
catalogue key
11574738
 
Includes bibliographical references (p. 173-183) and index.
Includes filmography (p. 184-187).
A Look Inside
Reviews
Review Quotes
'Luke Robinson's Independent Chinese Documentary is the first monograph in English on this crucial cultural movement. Robinson sustains a beautifully clear argument for spontaneity and contingency as the key elements that make independent documentary the cultural response to China's shift from socialist planning to citizen initiatives. Rigorously researched, it covers the entire twenty years of independent Chinese documentary in sophisticated yet lucid detail.' - Chris Berry, Goldsmiths, University of London, UK
"Luke Robinson's Independent Chinese Documentary is the first monograph in English on this crucial cultural movement. Robinson sustains a beautifully clear argument for spontaneity and contingency as the key elements that make independent documentary the cultural response to China's shift from socialist planning to citizen initiatives. Rigorously researched, it covers the entire twenty years of independent Chinese documentary in sophisticated yet lucid detail." - Chris Berry, Goldsmiths, University of London, UK
To find out how to look for other reviews, please see our guides to finding book reviews in the Sciences or Social Sciences and Humanities.
Summaries
Description for Bookstore
A sustained examination of Chinese independent documentary in relation to one of its central principles: xianchang, or being 'on the scene'
Long Description
In the past twenty years, China has witnessed the flowering of an independent documentary cinema characterized by a particular vérité aesthetic. Independent Chinese Documentary traces the roots of this style back to the 1980s, and the gradual abandonment of studio-based filmmaking, dominant during the Maoist era, for shooting live and on location. Known in Chinese as xianchang or being on 'the scene' this documentary practice is partly distinguished by its embrace of the contingent. Through a series of synoptic case studies, this book considers the different ways in which contingency manifests in independent Chinese documentary; the practical and aesthetic challenges its mediation presents for individual film directors; and the reasons for the quality's significance, set against the backdrop of China's ongoing postsocialist transition, and the consequences of this process for the very act of documentary representation itself.
Main Description
In the past twenty years, China has witnessed the flowering of an independent documentary cinema characterized by a particular verite aesthetic.'Independent Chinese Documentary' traces the roots of this style back to the 1980s, and the gradual abandonment of studio-based filmmaking, dominant during the Maoist era, for shooting live and on location. Known in Chinese as xianchang - or being on "the scene" - this documentary practice is partly distinguished by its embrace of the contingent. Through a series of synoptic case studies, this book considers the different ways in which contingency manifests in independent Chinese documentary; the practical andaesthetic challenges its mediation presents for individual film directors; and the reasons for the quality's significance, set against the backdrop of China's ongoing postsocialist transition, and the consequences of this process for the very act of documentary representation itself.
Main Description
In the past twenty years, China has witnessed the flowering of an independent documentary cinema characterized by a particular vérité aesthetic.Independent Chinese Documentarytraces the roots of this style back to the 1980s, and the gradual abandonment of studio-based filmmaking, dominant during the Maoist era, for shooting live and on location. Known in Chinese as xianchang or being on "the scene" this documentary practice is partly distinguished by its embrace of the contingent. Through a series of synoptic case studies, this book considers the different ways in which contingency manifests in independent Chinese documentary; the practical and aesthetic challenges its mediation presents for individual film directors; and the reasons for the quality's significance, set against the backdrop of China's ongoing postsocialist transition, and the consequences of this process for the very act of documentary representation itself.
Table of Contents
Acknowledgementsp. vii
Introductionp. 1
Mapping Independent Chinese Documentaryp. 12
The rise of a movementp. 12
The diversification of independent Chinese documentaryp. 18
From analogue to digitalp. 19
From the studio to the streetp. 25
Xianchang, liveness, contingencyp. 29
Postsocialism and independent Chinese documentaryp. 33
Metaphor and Eventp. 37
Introductionp. 37
Public, private, contingentp. 38
Form and event in No. 16 Barkhor South Street and The Squarep. 45
Public documentary and the metaphorical mode: the influence of Frederick Wisemanp. 51
The contingent event and the private documentary: Springtime in Wushanp. 57
The contingent event and the private documentary: Floatingp. 60
Structure and event in West of the Tracksp. 63
Towards a contingent documentary practicep. 67
Conclusionp. 72
Time, Space and Movementp. 74
Introductionp. 74
The time of independent Chinese documentaryp. 75
The movement-image and the zhuantipian: River Elegyp. 81
The distended form and tire jilupian: At Home in the Worldp. 84
Temporality and the demands of xianchang: the long takep. 88
Time without movement: In Publicp. 92
Jia Zhangke, the long take and global art cinemap. 97
Conclusionp. 101
Ethics, the Body and Digital Videop. 103
Introductionp. 103
Xianchang and the corporeal imagep. 104
The contingency of the contact zonep. 107
The lightness of the digitalp. 109
Representing homosexuality: independent Chinese documentary and the queer bodyp. 112
Queer activism and independent Chinese documentaryp. 117
'To whom do our bodies belong?': Queer China, 'Comrade' Chinap. 120
New Beijing, New Marriage: queer performance and queer agencyp. 123
Conclusionp. 127
Sound and Voicep. 130
Introductionp. 130
Xianchang, liveness and sound practicep. 131
Standing witness and talking heads: Bumming in Beijing and I Graduated!p. 134
The talking head todayp. 138
Nostalgia: deconstructing the talking headp. 140
Fengming: A Chinese Memoir: performing the talking headp. 142
Digital video and the (re)production of livenessp. 145
Conclusionp. 150
Conclusionp. 153
Notesp. 160
Glossary of Key and Recurring Chinese Termsp. 172
Bibliographyp. 173
Films and Television Programmes Referencedp. 184
Indexp. 188
Table of Contents provided by Ingram. All Rights Reserved.

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