Archive for the ‘dGenerate Titles’ Category

The Cultural Revolution Cookbook and the Politics of Nostalgia

Thursday, December 29th, 2011

"The East Wind State Farm" (dir. Hu Jie)

By Maya E. Rudolph

The Cultural Revolution Cookbook, a recent title that draws on the legacy of communal agricultural during the Cultural Revolution, researched and written by Sasha Gong and Scott D. Seligman, was recently released by Earnshaw Books.

The book incorporates some realities of Cultural Revolution-era cooking and eating with a definite bend towards popular American culinary trends, asserting of the young people who cultivated these recipes in the 1960s and 70s:

They learned to prepare remarkably tasty and healthy dishes with the fresh, wholesome foods in season, to conserve scarce fuel and to improvise when ingredients were unavailable. They used locally grown produce because there wasn’t anything else. And they mastered the art of getting peak flavors and maximum nourishment out of unprocessed, low-calorie foods, devoid of artificial preservatives, fresh from the fields, ponds and streams.

These are their recipes – entirely authentic, and easy to prepare in an American kitchen.

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Disorder, Beijing Besieged By Waste Among Critic’s Top Picks of 2011

Wednesday, December 28th, 2011

"Disorder" (dir. Huang Weikai)

Sight and Sound‘s annual account of the year’s cinematic highlights featured two dGenerate titles, spotlighting some of the brightest and boldest Chinese indies in recent memory.

Critic Jonathan Rosenbaum selected Huang Weikai‘s Disorder as one of his most memorable cinematic experiences of the past year, praising the film as a “Guangzhou city symphony culled from street footage by many hands and a major example of recent Chinese independent cinema.” 

Wang Jiuliang‘s Beijing Besieged By Waste appeared on the list of critic Sukhdev Sandhu, who called the film “eerie and urgent.” Sandhu goes on to address “One image – of the splayed yet oddly restful corpse of a man who had assembled a tiny shack amidst an enormous wasteland – has haunted me like no other in 2011.” 

 

Protests in Wukan Dissolved After Weeks of Unrest

Thursday, December 22nd, 2011

"Crime and Punishment" (dir. Zhao Liang)

Protests in Guangdong Province’s Wukan Village, which began months ago in response to government seizure of collectively-owned agricultural lands, have suspended their protests after a representative of Wukan Village met to negotiate with Guangdong  Province government officials.

The New York Times‘s Edward Wong reports:

In the meeting, which lasted for more than an hour outside Wukan, two senior provincial officials spoke to Lin Zuluan, 65, one of the villagers’ main representatives. Mr. Lin said after the meeting that the officials had agreed to three conditions set by the protesters, including freeing several villagers who had been detained, though the issue of the land sales remained unresolved.

“I was satisfied with how the meeting went,” Mr. Lin said. “Now they’ve opened up a new channel of communication, and it will help to build a closer relationship between the two sides.”

On Wednesday afternoon, Mr. Lin and other village leaders met to discuss their options and decided to call off the public protests and to reopen access to the village. It was unclear whether party officials who fled earlier would return and resume their jobs.

After that conclave, the village leaders held a rally with more than 1,000 residents in a public square and told the audience about the new agreement. When the villagers then dispersed, they took down protest banners hanging up near the square.

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Fujian Blue Available on Comcast On-Demand in January

Tuesday, December 20th, 2011

"Fujian Blue" (dir. Weng Shuoming)

dGenerate Films is pleased to announce that Robin Weng Shuoming‘s Fujian Blue will be available to rent for all Comacast Cable on-demand subscribers during the month of January.

Fujian Blue is a thrilling narrative portrayal of reckless youth, corruption, and heartache in of southern China’s most telling social environments.

A full review by Mike Fu can be found here:

“Subtropical reveries of money, sex, and power dominate the golden triangle of southern China in this gritty neorealist drama from Robin Weng (Weng Shouming).  Featuring idyllic natural landscapes side by side with Fujian province’s urban sprawl, Weng’s narrative follows a group of young hoodlums circulating carefree in a vapid nightlife of karaoke bars and dance halls.  By day, they pursue a more malicious endeavor to extort money from local housewives, whose husbands have made their fortunes abroad and left them floundering at home.  The film opens contrasting rows of decrepit houses with breathtaking mansions, reminiscent of a southern Californian suburb, glistening beneath the sun.  Already the dichotomy of contemporary Chinese society becomes apparent: the rift between haves and have-nots threatens to grow ever wider, and the stakes only become higher for a younger generation willing to risk everything.”

 

Beijing’s Ring of Garbage: Wang Jiuliang Profiled in Global Times

Monday, December 19th, 2011

Wang Jiuliang focuses his camera in a Beijing landfill

A recent article in the Global Times addresses the sprawling landfills surrounding Beijing that inspired Wang Jiuliang‘s documentary Beijing Besieged By Waste.

Feng Shu reports:

Wang spent months tracking garbage trucks to hundreds of the city’s legal landfill sites, illegal garbage dumps and recycling centers. He took more than 10,000 photographs and shot more than 60 hours of video.

Wang’s original idea was to discuss the environmental hazard of over-consumption. He focused on garbage as the “evidence” and decided it was time to ring the alarm.

“Few people know just how much garbage there is in this city, all of these photos and videos I shot show just how urgent this matter is,” said Wang…

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“Getting the Past Out Loud”: Wu Wenguang’s Memory Project and New Voices In Documentary Film at NYU

Thursday, December 15th, 2011

By Maya E. Rudolph 

From L to R: Dan Streible, Angela Zito, Wu Wenguang, Zhang Zhen

“Independent film has gone from underground to come above ground.” Wu Wenguang’s most recent project in mentorship and documentary filmmaking, which made its US premiere at NYU under the title Getting The Past Out Loud: Memory Projects with Wu Wengugang, is an exploration of individual and collective memory, of personal storytelling, and of the evolving talents of China’s newest generation of filmmakers. The event was organized by Professors Angela Zito and Zhang Zhen at the Center for Religion and Media Studies at NYU, which Zito co-directs and was co-sponsored by the Department of Cinema Studies, where Zhang is Associate Professor. The event was also made possible thanks to generous support from China House.

Wu, often extolled to as the godfather of the New Documentary Movement in Chinese independent cinema, presented two of his own projects at the weekend screening series, but emphasized the significant work of those young people involved in the Memory Project.  “My generation of filmmakers often started out working within the state system, but we were dissatisfied and bored,” Wu expressed in conversation with Professors Zhang, Zito and Cinema Studies Professor Dan Streible. “Filmmaking twenty years ago was about throwing tantrums. The new generation is more introspective, they don’t need to throw tantrums. They’ve adapted a more authentic independent posture.”

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Recent Death Sparks Protests in Guangdong In Ongoing Struggle for Property Rights

Wednesday, December 14th, 2011

"Meishi Street" (dir. Ou Ning)

The plight of unexpected activists and dingzihu, those Chinese households who refuse to yield their homes to demolition and real estate overhauls, has been well-documented over the past several years. Though the stories of stalwarts striving to preserve their farms and homes at the mercy of relentless “development” policies have appeared in film such as Ou Ning‘s 2006 documentary Meishi Street, rarely has such a story received the widespread attention of the still-unfolding events in Wukan Village, Guangdong.

The New York Times‘s Andrew Jacobs reports:

A long-running dispute between farmers and local officials in southern China exploded into open rebellion this week after villagers chased away government leaders, set up roadblocks and began arming themselves with homemade weapons, residents said.

The conflict in Wukan, a coastal settlement near the country’s booming industrial heartland in Guangdong Province, escalated on Monday after residents learned that one of the representatives they had selected to negotiate with the local Communist Party had died in police custody. The authorities say a heart attack killed the 42-year-old man, but relatives say his body bore signs of torture.

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CIFF Roundup: John Berra Reports on Nanjing Festival

Tuesday, December 13th, 2011

CIFF Official Logo

Reporting for the Electric Sheep blog, John Berra delivers a comprehensive account of the sights and sounds of the 8th annual China Independent Film Festival. Commenting on festival highlights, Berra offers an opinion on Shu Haolun‘s No. 89 Shimin Road, a staple of the current festival circuit throughout Asia.

The turbulent political landscape of the late 1980s is filtered through a nostalgic lens in Shu Haolun’s No. 89 Shimen Road (2010), although reference to Tiananmen ensures that this engaging drama will not receive a mainland release. High school student Xiaoli lives with his strict but understanding grandfather in Shanghai following his mother’s relocation to the United States, and becomes romantically involved with two girls who represent opposing social ideologies; next-door neighbour Lanmi becomes an escort for easy money while classmate Lili is more politically motivated. Shu resorts to some coming-of-age clichés, but this is still an evocative snapshot of youthful uncertainty at a time of social instability.

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dGenerate’s Karin Chien Featured on Filmwax Podcast

Monday, December 5th, 2011

"Little Moth" (dir. Peng Tao)

Check out this podcast: dGenerate president Karin Chien chats with Filmax Film Series director Adam Shartoff on the perks and pitfalls of indie filmmaking worldwide, our philosophy and where the name “dGenerate” comes from, and the uphill battle to bring Chinese independent cinema into world view.

Says Karin:

“The films that we’re distributing here take incredible risks and they’re able to because they do work completely out of the system in China and they don’t have these market pressures to bear as we do in the states. And in a way, that’s crippling when it comes to distribution, but also freeing when it comes to making the films.”

Filmwax, a screening series with an emphasis on Brooklyn-based filmmakers and ventures, recently hosted a mini-series of dGenerate fare: Jian Yi’s Super, Girls! and Peng Tao‘s Little Moth.

Kevin Lee Reports on Chinese Cinema Today for “Ebert Presents At the Movies”

Friday, December 2nd, 2011

Check out a video produced by dGenerate’s own Kevin Lee for Ebert Presents: At The Movies:

Reporting on trends in the current Chinese cinema landscape, the video highlights three dGenerate titles representing the best Chinese independent documentary has to offer. Zhao Liang‘s Crime and Punishment, Ou Ning‘s Meishi Street, and Jian Yi‘s Super, Girls! Also discussed are Jian Yi’s recently defunct IFChina Original Studio and his approach to independent filmmaking in China.

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