Download e-book for iPad: China's iGeneration: Cinema and Moving Image Culture for the by Matthew D. Johnson

By Matthew D. Johnson

ISBN-10: 1623565952

ISBN-13: 9781623565954

This cutting edge choice of essays on twenty-first century chinese language cinema and relocating photo tradition gains contributions from a global neighborhood of students, critics, and practitioners. Taken jointly, their views make a compelling case that the previous decade has witnessed an intensive transformation of traditional notions of cinema. Following China's accession to the WTO in 2001, own and collective stories of adjusting social stipulations have extra new dimensions to the more and more different Sinophone media panorama, and supplied a unique supplement to the prevailing edifice of blockbusters, documentaries, and auteur tradition. the various 'iGeneration' productions and practices tested during this quantity comprise 3D and IMAX movies, experimental documentaries, animation, visible aides-mémoires, and works of pirated pastiche. jointly, they undergo witness to the emergence of a brand new chinese language cinema characterised through electronic and, trans-media representational options, the blurring of private/public differences, and dynamic reinterpretations of the very idea of 'cinema' itself.

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Extra resources for China's iGeneration: Cinema and Moving Image Culture for the Twenty-First Century

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In the last shot of the film, Yang asks what the father thinks. 42 However, as I see it, what Yang cares about most is the family appearing as a collective, which is the central focus of her film. 43 In They Are Not the Only Unhappy Couple, Wang’s camera focuses on examining the relationship between the husband and the wife. The majority of the film is made of two separate confessional interviews with the mother/wife and the father/husband, cross-cut and organized like a dialogue of the two. The film presents the couple’s dissatisfaction towards each other.

Such cinematographic techniques demonstrate a more intimate relationship between the filmmaker and the subjects, and are very different from the Toward a Communicative Practice 31 conventional fly-on-the-wall observational documentary mode that had a significant impact on earlier Chinese independent documentaries in the 1990s. Yang’s personal relationship with her family members enables her camera to enter the private familial space. She conducts interviews in a very casual way, interrogating her parents almost like an arbiter.

Small videos, Hu Ge impact: parody videos in postsocialist China’ in Journal of Chinese Cinemas, 4:3 (2010). Manovich, Lev. The Language of New Media. Cambridge, MA: MIT Press, 2001. Massumi, Brian. Parables for the Virtual: Movement, Affect, Sensation. Durham, NC: Duke University Press, 2002. McGrath, Jason. Postsocialist Modernity: Chinese Cinema, Literature, and Criticism in the Market Age. Stanford: Stanford University Press, 2008, 4. McKenna, A. T. ) Andrew Spicer, A. T. McKenna, Christopher Meir (London and New York: Bloomsbury 2014), pp.

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China's iGeneration: Cinema and Moving Image Culture for the Twenty-First Century by Matthew D. Johnson


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