Zhou Hao Wins Golden Horse Award; Next Film Chosen for Sundance Competition

December 9th, 2014
Cotton (dir. Zhou Hao)

Cotton (dir. Zhou Hao)

For over a decade, Zhou Hao has been making independent documentaries probing many of China’s most urgent social issues, including migrant labor, drug abuse, law enforcement and political corruption. The former journalist’s fearless and resourceful investigations have won him acclaim at various festivals; dGenerate distributes two of his most well-regarded titles, Using and The Transition Period. His most recent work is achieving even greater levels of recognition.

Last month, the Taiwan Golden Horse Film Festival awarded its Best Documentary prize to Zhou’s newest film, Cotton. In this feature, Zhou profiles a farmer, a cotton picker and workers in cotton factories, who represent the unseen labor behind China’s cotton industry.

Last week, the Sundance Institute announced that Zhou’s upcoming film The Chinese Mayor will have its world premiere in the Sundance International Film Festival’s World Documentary Competition. In this feature, Zhou closely follows Mayor Geng Yanbo, who is determined to transform the coal-mining center of Datong, in China’s Shanxi province, into a tourism haven showcasing clean energy. In order to achieve that, however, he has to relocate 500,000 residences to make way for the restoration of the ancient city.

Heartiest congratulations to Zhou Hao on his recent and continued success.

Environmental Filmmaking in China Profiles Wang Jiuliang, Jian Yi

December 8th, 2014

For the Associated Press, Louise Watt reports on the impact that environmental filmmakers are having in China. Among those profiled in the report are Wang Jiuliang and Jian Yi, whose previous environmental films are distributed by dGenerate: Beijing Besieged by Waste by Wang and What’s for Dinner? by Jian.

Wang Jiuliang discusses his new film "Plastic China." (photo credit: Associated Press)

Wang Jiuliang discusses his new film “Plastic China.” (photo credit: Associated Press)

An excerpt from the report:

One clip shows a girl swatting flies from a younger child among piles of trash. Another has children blowing up used medical gloves like balloons.

The footage is on the computer screen of Wang Jiuliang as he edits his second film about waste harming China’s environment.

He’s already in discussions to show it on the main state-run broadcaster and answering calls from state media reporters who want to interview him. This in a country where independent filmmakers critical of the government generally face censorship, harassment or worse.

Environmental filmmakers continue to be hassled at the local level — Wang said he has been chased by dogs, threatened and punched — but their work apparently is being tolerated nationally because it aligns with the Communist Party leadership’s new priority of fighting pollution.

Read the full article at AP.

Chinese Independent Film Lives On – A Photo Essay by Karin Chien

December 2nd, 2014

Earlier this month, dGenerate Films’ Founder and President Karin Chien attended the 11th China Independent Film Festival (CIFF) in Nanjing. Many did not think the festival could happen.

In 2012, CIFF was shut down by the authorities. In 2013, the organizers carefully screened only 10 feature films and one documentary. Then, earlier this year, the Beijing Independent Film Festival (BIFF), known to show more politically sensitive films than CIFF, was violently repressed, the organizers detained, and their archive of over 1500 independent films confiscated.

Yet, from November 15-20, CIFF’s organizers managed to pull off the only festival of independent Chinese films in mainland China this year.

Below, Karin chronicles her visit to CIFF, as well as to the BIFF offices and to the opening ceremony of a new festival, the 2nd China Women’s Film Festival.

IMG_1953

Documentary director Xu Tong (FORTUNE TELLER) answers questions about his latest film CUT OUT THE EYES, which tells the story of a blind traveling musician in Inner Mongolia. A classroom at Nanjing University of the Arts served as one of four screening venues for the 2014 China Independent Film Festival (CIFF). Because the festival was not widely publicized, in order not to draw attention from the authorities, the majority of the audience were students who saw the posters and programs around campus. Read the rest of this entry »

Filmmaker Wu Wenguang visits UC Santa Cruz

October 27th, 2014

Next week the University of California, Santa Cruz will host two events centered around the visit to University of California, Santa Cruz of Wu Wenguang, one of China’s leading independent documentary makers, and three artists (Zhang

caochangdi-1bv7zaf

Mengqi, Li Xinmin, Zou Xueping) from the Caochangdi Workshop in Beijing.

The two events are:

1) Tuesday, Nov. 4, 7 pm, Public screening of Children’s Village (2012) by Zou Xueping, part of Caochangdi’s Folk Memory Project on China’s Great Famine (1959-1961), followed by discussion with Wu Wenguang and the Caochangdi artists. Location: Communications 150, Studio C, University of California, Santa Cruz.

2) Wednesday, Nov. 5, 10 am – 1pm, CDAR (Center for Documentary Arts and Research) post-realist seminar which offers a great opportunity for in-depth and close-range discussion with the Caochangdi group on issues of documentary field work, remembering, and collective choreography.

Registration required. Contact Jonathan Kahana (jkahana at ucsc.edu) or Alex Johnston (alwjohns at ucsc.edu).

Location: Communications 150, Studio D, University of California, Santa Cruz.

Beijing Independent Film Festival: Video and Summary of Reports

September 5th, 2014

The Chinese Film Festival Studies Research Network has posted a helpful collection of links to news reports, statements and other information related to the closing of the Beijing Independent Film Festival last August. Also included are statements from festival organizer Li Xianting listing a timeline of his interactions with authorities prior to the shutdown and an official response (in Chinese) from the Festival to the authorities.  The site also links to a Chinese-language editorial by independent film producer and programmer Zhang Xianmin on the current difficulties facing independent film festivals in China, originally published in the Chinese edition of the New York Times.

Scott E. Myers, PhD Candidate of the University of Chicago, also contributed his first-person account of what happened on the day of the shutdown. Below is video footage of locals confronting festival attendees that day, posted on the YouTube account of filmmaker and festival organizer Wang Wo.

Report on How Documentaries are Controlled in China

August 29th, 2014
Li Xianting, film critic and organizer of the Beijing Independent Film Festival (AP Photo/Ng Han Guan)

Li Xianting, film critic and organizer of the Beijing Independent Film Festival (AP Photo/Ng Han Guan)

Following the recent shutdown of the Beijing Independent Film Festival, Louise Watt reports in the Associated Press on the larger state mechanisms that control documentary production and distribution in China:

China is wooing filmmakers at the same time as it’s cracking down on them. Authorities are handing more slots to documentaries, giving even independent filmmakers a chance to be shown on state television. But while China is avidly pursuing what it considers serious content to replace popular dating, reality and game shows, it is also stifling material with any whiff of challenging the Communist Party line. A weekend crackdown by authorities on an independent film festival in Beijing was the worst in its eight-year history, with police confiscating hundreds of films and briefly detaining two organizers.

On the one hand, there is a push to use documentary to promote an ideal image of China across the world while countering less substantive television programming domestically:

The government approves of such documentaries that “accord with the view of China as being a magical place full of interesting customs, traditions and good food,” said Michael Keane, an expert on China’s creative industries at the Queensland University of Technology in Brisbane, Australia.

Li Xiaofeng, a documentaries expert at Nanjing University’s School of Journalism and Communication, said the government was encouraging documentaries to help boost China’s reputation abroad and to counter the trend of “too many” variety and other entertainment shows on local TV stations.

On the other hand, the highly regulated and restrictive environment for such films lead young filmmakers to independent venues to seek opportunities for freer expression:

Kevin B. Lee, the vice president of programming for dGenerate Films, which distributes Chinese independent films to North America, said the Beijing Independent Film Festival, which was due to open this year on Saturday, was a “vital channel” for discovering young filmmakers.

Lee said production of independent films on the mainland has “just flourished” over the past 10 years because equipment has become cheaper and more convenient. But he added that in the past two years, disruptions of film festivals have made it harder to know what’s out there.

“I worry about the upcoming as-yet-unknown talents for whom really the festival is often the first exposure they have to an outside audience,” Lee said.

Read the full report at Associated Press.

Chinese Cinema Author Expresses Changing Opinion of Indie Films

August 28th, 2014
China on Film: A Century of Exploration, Confrontation and Controversy, by Paul Pickowicz

China on Film: A Century of Exploration, Confrontation and Controversy, by Paul Pickowicz

Recently China Digital Times interviewed Paul Pickowicz, Distinguished Professor of History and Chinese Studies at the University of California San Diego and author of China on Film: A Century of Exploration, Confrontation and Controversy (Rowan and Littlefield 2013). In a long and far-ranging conversation, Pickowicz reflects on his groundbreaking work at the China Film Archive in the 1980s, forging relationships with Chinese film scholars and filmmakers at a time when the Chinese film industry saw little interaction with the West.  He also shares his observations on different eras of Chinese film from the 1920s to the present.Of particular relevance to us at dGenerate is his answer to a question regarding his shifting opinion of the independent films of the past two decades:

CDT: Why did you initially deem the wave of underground and independent productions that came out shortly before and after 2000  “self-indulgent” and “trivial” but later change your mind saying “Chinese artists had earned the right to be self-indulgent” because of decades of “Maoist collectivism and asceticism.” 

PGP: When I first began to take a close look at large numbers of these films, documentaries and features alike, I was no doubt hoping for the same sort of independent, critical engagement with broad social issues that we see in the films made before 1949 by independent, non-state sector filmmakers.  I was looking for political critiques and at least some finger pointing.  I was interested in such issues as environmental degradation, recovering lost histories, child trafficking, corruption, and organized crime.  Eventually I found many significant works that treated such topics, films like Peng Tao’s Red Snow (Hongse xue, 2006), Liu Bingjian’s Crying Woman (Kuqi de nuren, 2002), and Ai Xiaoming’s Love and Care (Guan ai zhi jia, 2007).  But initially I looked randomly through our collection and struck by the large numbers of films that seemed very inwardly directed instead of outwardly directed.  I was looking for critical protest films but was confronted by very large numbers of films, especially documentaries, that screamed, “Look at me!”  They seemed very self-indulgent to me and I quickly tired of their repetitiveness.  But of course I soon realized that these films were highly political in their own ways.  They were, after all, a very logical response to decades of Maoist collectivism when people were supposed to “merge with the masses” and deny “self.”  Once a space suddenly opened up for reflections on self and individual identities, many, many young urbanites took the plunge.  They engaged with passion in what I call “identity searches.”

The full interview can be read at China Digital Times.

Three New Titles Added to dGenerate Films Collection

August 27th, 2014
Mothers (dir. Xu Huijing)

Mothers (dir. Xu Huijing)

We are happy to announce three new additions to the dGenerate Films collection, released by Icarus Films just in time for the new school year!

Sterilization quotas seem like the stuff of science fiction–but they are all too real as documented in the shocking exposé Mothers, a film by Xu Huijing that offers a powerful feminist perspective, as we watch men developing and enforcing reproductive policies for women.

Meat is central to the daily meals of billions of people, yet the enormous environmental, climate, public health, ethical, and human impacts of its consumption are remain largely undocumented. Jian Yi’s new short film What’s For Dinner? explores this terrain in fast-globalizing China through the eyes of a pig farmer in rural Jiangxi province; a vegan restaurateur in Beijing; a bullish young livestock entrepreneur; and residents of the infamous Chinese region nicknamed “the world’s meat factory.”

It was 12 o’clock at night when police knocked on the door for a “room inspection.” “I turned on a small camcorder. This film is the record of that visit,” explains Zhu Rikun–filmmaker, distributor, and artistic director of the Beijing Independent Documentary Festival–of his explosive short film The Questioning.

These three new films are part of the dGenerate Films Collection at Icarus Films, as well as IcarusFilms’ extensive collections of documentary films on Chinese StudiesAsian Studies,Women’s Studies, and Environmental Studies. The dGenerate collection also contains narrative films.

To preview or purchase these or any other IcarusFilms titles, contact Nina Riddel: (718) 488-8900 - nina [at] icarusfilms.com

A Statement of Support for the Beijing Independent Film Festival

August 26th, 2014
Official poster for the 2014 Beijing Independent Film Festival

Official poster for the 2014 Beijing Independent Film Festival

Jonathan Miller, President of Icarus Films, distributor of the dGenerate Films collection, Karin Chien, dGenerate Films President and Founder, and Kevin B. Lee, dGenerate Films Vice President of Programming, join the international film community in signing a statement of support of the Beijing Independent Film Festival, which was shut down on Saturday August 24 by authorities in Beijing. Below is background information on the statement, followed by the statement and list of co-signers.

As distributors of Chinese independent films, dGenerate Films has benefitted greatly over the years from the Beijing Independent Film Festival as a renowned resource to discover exciting new works of Chinese cinema. Many titles in the dGenerate Films collection originally premiered at the Festival, attesting to the Festival’s vital function in presenting new works of Chinese cinema to the world. dGenerate’s mission to help audiences outside of China access and discover Chinese independent films is greatly inspired by the work of the Beijing Independent Film Festival and its sponsoring organization, the Li Xianting Film Fund.

We will provide updates and link to news reports as the situation unfolds on the dGenerate Films website.

For examples of the outstanding work associated with the Beijing Independent Film Festival and Chinese independent filmmaking community it serves, view the selection of documentaries and narrative films from the dGenerate collection.

Background to the Statement: 

On Saturday, August 23, the day it was to open, the 11th annual Beijing Independent Film Festival was shut down by the Chinese authorities. BIFF, supported and hosted for many years by the Li Xianting Film Fund, has been one of the most important venues within China for the exhibition of new, unauthorized, independent Chinese film, films that the censors won’t allow to be openly screened for Chinese audiences. The festival takes place at the headquarters of the Li Xianting Film Fund in the artist village of Songzhuang, a distant suburb of Tongzhou District, Beijing. For the past three years, Chinese police and local authorities have harassed the festival. But they have not succeeded, until this year, in completely shutting it down.

Police, State Security personnel, and representatives of various levels of government contacted and pressured the festival: on Saturday the electricity to the festival’s headquarters and sponsoring organization, the Li Xianting Film Fund, was cut, and anonymous “villagers” were sent to surround the headquarters and in some cases physically intimidate visitors and journalists. In what may be even more ominous news, noted critic and festival sponsor Li Xianting reported that the Film Fund’s complete archives and equipment were forcibly confiscated by the Chinese police. These archives comprise what is likely the most extensive collection within China of independent films and related research materials from the last ten years.

Statement in Support of the Beijing Independent Film Festival and the Li Xianting Film Fund:

As independent film festivals and supporters of independent cinema, we have learned with deep concern that the Chinese government and police authorities have prevented the 11th Beijing Independent Film Festival, based in Songzhuang, Beijing, from opening last weekend, August 23rd, and detained its organizers Wang Hongwei, Fan Rong, and Li Xianting for several hours. We are also deeply concerned that BIFF’s sponsoring organization, the Li Xianting Film Fund, has been raided, and the entirety of its invaluable archives of independent Chinese cinema have reportedly been confiscated.

We call upon the relevant Chinese authorities to permit the Beijing Independent Film Festival to pursue its mission to nurture and exhibit a full range of alternative cinematic voices in China, to allow the festival to operate without interference, and to allow the Li Xianting Film Fund to continue its vital mission of archiving and supporting independent Chinese filmmakers.

 

Co-signed:

Berlinale Forum, Christoph Terhechte, Head
Curtas Vila do Conde International Film Festival, Nuno Rodrigues, Miguel Dias, Mário Micaelo , co-directors
dGenerate Films, Karin Chien, President
DocLisboa, Cíntia Gil and Augusto M. Seabra, co-directors
Festival International du Film de Belfort – EntreVues, Lili Hinstin, Artistic Director
Film Society of Lincoln Center, Dennis Lim, Director of Programming
Göteborg International Film Festival, Jonas Holmberg, Artistic Director,
Marit Kapla, Head of Programme
Hong Kong Independent Film Festival, Vincent Chui, Artistic Director
Images Cinema, Doug Jones, Executive DIrector
International Film Festival Rotterdam, Rutger Wolfson, Festival Director
Lima Independiente Festival Internacional de Cine, Alonso Izaguirre, Director
New York Film Festival, Kent Jones, Director
Sydney Film Festival, Nashen Moodley, Festival Director
Taiwan International Documentary Festival, Wood Lin, Program Director
The Association of Documentary Filmakers of Chile, Amalric de Pontcharra
Torino Film Festival, Emanuela Martini, Director
Tromsø International Film Festival, Martha Otte, Festival Director
Tokyo Filmex, Shozo Ichiyama, Program Director
True/False Film Fest, Paul Sturtz and David Wilson, co-directors
Visions du Réel, Luciano Barisone, Director

 

Chinese LGBT Film Activist Fan Popo Makes “40 Under 40″ List by Advocate Magazine

August 26th, 2014
Fan Popo (photo: Advocate)

Fan Popo (photo: Advocate)

Congratuations to Fan Popo, a young filmmaker, social activist and director of the Beijing Queer Film Festival, for being selected as one of Advocate Magazine’s “40 Under 40 Emerging Voices” in LGBT culture and activism.

From the Advocate profile of Fan, written by Daniel Reynolds:

“Film can change people’s minds,” says the 20-something filmmaker, who learned the art of moviemaking at the Beijing Film Academy and is also the author of Happy Together: Complete Record of 100 Queer Films, which has drawn comparisons to Vito Russo’s LGBT cinema manifesto, The Celluloid Closet. To date, Fan has created several documentaries that have advocated for LGBT rights in China, including The Chinese Closet, which tells young people’s stories of coming out to their parents, and Only Love, which examines the lives of transgender people in southern China.

Read the full profile of Fan Popo at Advocate.