By Qi Wang
Memory, Subjectivity and autonomous chinese language Cinema offers a traditionally educated exam of self reliant relocating snapshot works made among 1990 and 2010 in China. Showcasing an evolving own mode of narrating reminiscence, documenting truth, and inscribing subjectivity in over 16 chosen works that variety from narrative movie and documentary to experimental video and electronic media (even together with a multimedia avant-garde play), this publication offers a provocative portrait of the self reliant filmmakers as a exceptionally pained but energetic crew of old topics of the transitional, post-socialist period. via a attached research of cultural and cinematic innovations together with historic awareness, own reminiscence, narrative, functionality, subjectivity, spatiality, and the physique, Wang weaves a serious narrative of the formation of a special post-socialist cultural realization that allows self sufficient cinema and media to turn into a hugely major and potent conduit for historic pondering in modern China.
Covering administrators reminiscent of Zhang Yimou, Chen Kaige, Jia Zhangke, Jiang Wen, Lou Ye, Meng Jinghui, Wang Bing, Wang Guangli, Duan Jinchuan, Cui Zi’en, Shi Tou, and Tang Danhong, this ebook is vital analyzing for all scholars and students in chinese language film.
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Additional resources for Memory, Subjectivity and Independent Chinese Cinema
Indd 34 28/08/2014 12:47:55 Toward the Figuration of a Postsocialist Subjectâ•… 35 human factor in the double frame of the socialist/traditional order, it enables a commentary on the revolutionary past that, while not possibly as daringly individual-based as attempted by On the Narrow Street and Bitter Love, does offer an alternative angle to that of official interpretation. In that sense, cinematic subjectivity of the eighties is in need of spatiality for its cultivation, realisation and communication, mobilising spatiality as a visual component of the miseen-scène and as a symbolic reference to specific cultural coordinates.
Indd 37 28/08/2014 12:47:56 38â•… Memory, Subjectivity and Independent Chinese Cinema peasant woman seems to be living a pre-1949 life. The revolution apparently fails to deliver her family from poverty, thus adding a scathing but realistic footnote to the grandiose revolutionary discourse. 45 Even more daringly, the captain and the policeman, although uniformed as the political as well as legal overseers aboard the ship, also sympathise with Qiu Shi and eventually help him to freedom. 1â•… Night Rain in Bashan (dir.
The ship, along with the river landscape as another prominent visual constant in the film, constructs a very unique, alternative space in both narrative and historical terms. A river flows; a journey transports one from one place to another and in the process involves constant change and renewal of view. As if aided by such facts that are also highly symbolic, the ship in Night Rain travels on the Yangtze River and becomes an independent space floating outside the politics on the riverbanks. As indicated by the cabin’s composition, ideology here is returned to the midst of social life and revealed to be not only less important, but also less creditable, its senselessness being testified by the pained experiences and observations of the ‘atypical’ social cast of passengers.