Filming the Everyday : Independent Documentaries in Twenty-First-Century China

個数:

Filming the Everyday : Independent Documentaries in Twenty-First-Century China

  • 在庫がございません。海外の書籍取次会社を通じて出版社等からお取り寄せいたします。
    通常6~9週間ほどで発送の見込みですが、商品によってはさらに時間がかかることもございます。
    重要ご説明事項
    1. 納期遅延や、ご入手不能となる場合がございます。
    2. 複数冊ご注文の場合は、ご注文数量が揃ってからまとめて発送いたします。
    3. 美品のご指定は承りかねます。

    ●3Dセキュア導入とクレジットカードによるお支払いについて
  • 【入荷遅延について】
    世界情勢の影響により、海外からお取り寄せとなる洋書・洋古書の入荷が、表示している標準的な納期よりも遅延する場合がございます。
    おそれいりますが、あらかじめご了承くださいますようお願い申し上げます。
  • ◆画像の表紙や帯等は実物とは異なる場合があります。
  • ◆ウェブストアでの洋書販売価格は、弊社店舗等での販売価格とは異なります。
    また、洋書販売価格は、ご注文確定時点での日本円価格となります。
    ご注文確定後に、同じ洋書の販売価格が変動しても、それは反映されません。
  • 製本 Paperback:紙装版/ペーパーバック版/ページ数 212 p.
  • 言語 ENG
  • 商品コード 9781442270244
  • DDC分類 070.180951

Full Description

This cutting-edge book examines the rapidly developing scene of Chinese independent documentary, arguably the most courageous player 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. Highlighting documentary contestation in China, the book traces its cacophony of expressions, some of it featuring confrontations with domineering elites, some of it highlighting negotiations among the independent filmmakers themselves. Their goal is not a "movement" that seeks to establish and impose a single truth, but rather a creative dynamic that fosters a community of tolerance and respects diverse forms of expression. Independent documentary is quite literally a moving target that is witnessing ongoing and widening diversity and complexity when it comes to directors, themes, aesthetics, human subjects, audiences, and impact. The authors stress the enormous potential of cultural production that features non-elites (including amateurs) and that dwells on the everyday, the bottom up, the grassroots, the seemingly mundane, and the apparently marginal. 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.

Contents

Acknowledgments

Part I: Cultural Context
1. Introduction: Documenting China Independently, by Paul G. Pickowicz and Yingjin Zhang
2. Who's Afraid of the Documentary Camera? Refiguring Reality, Memory, and Power in Chinese Independent Documentary, by Yingjin Zhang
3. For Whom Does the Director Speak? The Ethics of Representation in Documentary Film Criticism, by Yomi Braester,

Part II: Rural Reconfigurations
4. From Root-Searching to Grassroots: Returning to the Countryside in Contemporary Chinese Fiction and Independent Documentary Film, by Angie Chau
5. Zou Xueping's Postsocialist Homecoming, by Paul G. Pickowicz

Part III: Embodied Filmmaking
6. Looking Back while Marching Forward: Reconfiguration of Selfhood in the Folk Memory Project, by Tong Wang
7. The Memory Project and Other Ways of Knowing: Filmmaking, Affect, and Embodied Knowledge, by Laura Kissel

Part IV: Documentary Enactments
8. Gendering Intersubjectivity in New Chinese Documentary: Feminist Multiplicity and Vulnerable Masculinity in Postsocialist China, by Alvin Wong
9. From Bumming to Roaming: Xu Tong's The Drifters Trilogy, by Yiman Wang
10. Documenting through Reenacting: Revisiting the Performative Mode in Chinese Independent Documentaries, by Hongjian Wang

Appendix: Michael Berry, "Memory/Document: In Dialogue with Wu Wenguang's Memory Project"
Documentary Filmography
About the Contributors

最近チェックした商品