Posts Tagged ‘china’

Defending Culture and Democracy in Chinese Independent Documentaries

Monday, August 30th, 2010

By Isabella Tianzi Cai

The latest issue of Hong Kong-based Open Magazine features three articles on citizens’ documentary in Chinese civil rights movements. One of them, written by Teng Biao, who is a human rights lawyer in Beijing, has been translated and published at Interlocals.net. See original.

In the article, Teng gives a comprehensive overview of the civic documentary movement in China for the past few decades. While the facts are impressive in both volume and numbers, the ideas aren’t all new to us. He writes,

Information monopoly is designed to benefit those in power, while Citizens Documentary can eliminate the cover-ups in certain extent. Only a few documentaries can already make the dictatorship pay a huge price. One can imagine that with the expansion of the Civic Documentary campaign, covering up truth will be a futile and obsolete attempt. Till then, there should be a significant change in the mode of power operation. (Interlocals)

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Cinematic Earthquakes: Thoughts on Aftershock and 1428

Thursday, July 22nd, 2010

By Isabella Tianzi Cai and Kevin B. Lee

Aftershock (dir. Feng Xiaogang)

The 1976 Tangshan Earthquake was one of the worst natural disasters in China’s history and believed to be the deadliest earthquake of the twentieth century. It had a magnitude of 7.8 and an estimated number of casualties between 212,419 to 719,000. Aftershock, director Feng Xiaogang’s dramatic feature about the Tangshan Earthquake, is set to be released July 22.  Budgeted at 138 million RMB (over $20 million US), it is primed to be the film event of the summer for Chinese cinemas. To behold such a big-budget spectacular about a historical tragedy raises several questions about the film, chiefly:  how it will recount the details of a historical tragedy while satisfying audiences as big-budget mass entertainment?

It is worth noting that the Censorship Board of the State Administration of Radio, Film, and Television of China gave Aftershock virtually no obstacle in production and distribution. Such lack of interference is very rare within the Chinese film industry. Many board members are said to have cried during the screening of the film, feeling deeply touched by the story. Clearly it is a state-approved account of history, every word, sentiment and action reviewed and approved. What bearing this has on the merits of the film remains to be seen upon its release. For now, we can contrast Feng Xiaogang’s production with another recent film about a similar historic tragedy in China.
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African Directors Film in China with Li Xianting Film School and Rotterdam Festival

Tuesday, July 6th, 2010

Portrait of Mozambique President Armando Guebuza in a Chinese restaurant (Photo: Ella Raidel, IFF Rotterdam)

The International Film Festival Rotterdam has announced an exciting new project where several African directors will make films in China.  We find this a brilliant initiative to bridge two parts of the world that are developing complex new social and economic ties. Additionally, it’s wonderful that IFFR enlisted the Li Xianting Film School in Beijing, the first film school for independent filmmakers in China, to help initiate the African directors into the Chinese independent film scene.  Among its faculty, the Li Xianting Film School features at least a couple of dGenerate directors such as Ying Liang and Yang Jin. This promises to be a wonderful opportunity of artistic and cross-cultural exchange.

The project has already kicked off with a blog by Rotterdam Festival programmer Gertjan Zuilhof, which will follow the project through its many stages. We’ll be keeping tabs on it to see how the participants are progressing.

The full press release from IFFR follows:

Inspired by the growing influence of China in some African countries, the International Film Festival Rotterdam (IFFR) asks seven filmmakers from South Africa, Cameroon, Uganda, Rwanda, Congo and Angola to make films in China. The African directors’ films will premiere, along with a contextual film program, during the Rotterdam’s 40th edition. The program, titled ‘Raiding Africa’, includes a film workshop produced by the IFFR in collaboration with the Li Xianting Film School in Beijing and supported by Rotterdam’s Hubert Bals Fund.

More after the break.

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Superblogger Han Han on Why “China Can’t Be a Cultural Superpower”

Wednesday, June 23rd, 2010

By Isabella Tianzi Cai

Han Han (photo: China Digital Times)

Ranked as one of the world’s 100 most influential people in a 2010 survey by Time, 28-year-old Chinese writer and rally racer Han Han has been in fact long well-known within China. While in high school, his essay “Seeing Ourselves in a Cup” won the first prize in China’s New Concept Writing Competition. Not long after, he dropped out of high school to free himself from China’s intensely selective education system and embark on a lifelong journey of self-learning.  Since then he has written and published numerous articles and a dozen novels, many of which relate directly to contemporary controversial Chinese political issues.Because he can be exceedingly candid and honest in writing, a number of his blog posts have been censored by the state’s Propaganda Department. However, his blog continues to be one of the hottest in China. There, he helps the silenced minorities in China assert their uttermost concerns; he also critiques the Chinese culture from a fresh perspective of the “post-80s generation:” China’s youth who have grown up during the country’s economic boom and are often characterized as apolitical and consumer-obsessed.

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Awards Announced at 7th China Documentary Film Festival

Monday, May 10th, 2010

The Spiral Staircase of Harbin (dir. Ji Dan) [Photo courtesy of Fanhall Films

The 7th China Documentary Film Festival, organized by Fanhall Films, was held May 1-7  in the Songzhuang Art District on the outskirts of Beijing. 11 new documentaries were featured in the competiton, as well as several other films outside of competition and an international section featuring films from Japan, South Korea and Singapore.  We will have some commentary on the festival proceedings in the coming days.

The Festival announced its awards for the following films (with citations by the jury in quotes):

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Google, Avatar and the Rise of a Consumer Citizenry in China

Friday, March 26th, 2010

Memorial flowers left at Google's China headquarters (image source: The Shanghaist)

On The China Beat, Ying Zhu and Bruce Robinson give a fascinating take on two major cultural controversies in China so far this year: the showdown between Google and the Chinese government, and the pulling of Avatar from Chinese theater chains. In their article, Zhu and Robinson identify the Chinese citizenry as an increasingly empowered force in shaping their society.  They cite this to explain the different outcomes between Google and Avatar when both faced opposition from the state:

The Chinese state and local economic interests have worked in unison in dismissing Google’s request for an open and uncensored Internet system…In the case of Avatar, the public triumphed in their resolve to keep Avatar on screen partly because they had the backing of Chinese theater chains that wanted to maximize their profits from screening Avatar… Google, however, does not have local partners analogues to theater chains whose financial interest contributed to the victory of the Chinese Avatar fans.

The full article compares these two events at much greater length, while ultimately pointing to an emerging class of citizens in China as the critical factor in determining the outcome of these and future controversies.  Empowered both by their conspicuous consumption and their ability to exchange opinions on the web with increasing freedom, these critical masses are bringing a new age of “lifestyle politics” to China.

This strain of “lifestyle politics” can be seen in at least two dGenerate titles. Jian Yi’s Super Girls shows teenage girls thriving in a subculture of identity empowerment around the  Chinese version of American Idol (whose online voting, incidentally, triggered the largest democratic election in Chinese history). Cui Zi’en’s Queer China, Comrade China chronicles the many tactics taken by the LGBT community to gain acceptance within the Chinese public.

The mobilization of the Chinese “netizenry” is something to keep an eye on, especially with new developments constantly unfolding. This week, Google has begun offering uncensored search results through its new Hong Kong-based China operations. And an online network of journalists, lawyers, academics and activists have demanded a provincial governor’s resignation over his open suppression of an investigation of a scandal involving his office.

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The Potential (and Perils) of Online Video for the d-Generation

Friday, March 19th, 2010

Super, Girls! (dir. Jian Yi)

This recent article on CNN caught our eye, as it deals with what may be an emerging next wave of the digital filmmaking in China we at dGenerate heartily support. The article cites the explosion of user generated content on Chinese video sites like Youku and Tudou, which one analyst describes as ”An unleashing of creativity like the world has never seen.”

Here’s the skinny from the article:

While the bulk of the content on popular Chinese video sites consists of domestic and foreign movies and television programs, a growing share of material is coming from Chinese who are picking up cameras, filming the world around them and sharing it with others for the very first time.

This may not seem extraordinary elsewhere, yet the growth of user-generated content represents a major shift in the way China watches itself and the way the world watches China.

That last line resonates a lot with the mission of China’s dGeneration of filmmakers; thanks to the accessibility of digital video and their own mission to document issues that couldn’t pass through state censorship, these filmmakers brought a radical new element to China’s art and media landscape.  However, the ongoing challenge for these filmmakers has been to break out of a small, relatively confined circuit of underground festivals and other distribution channels in China, so that a greater audience can access these films and the important stories they uncover.

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Chinese Train Doc Leaves Tracks at Sundance, Stirs Criticism at Home

Tuesday, February 2nd, 2010

Fan Lixin, director of Last Train Home (Photo by Nan Chalat Noaker/Park Record)

One of the most acclaimed films at this year’s Sundance Film Festival is Last Train Home by Lixin Fan. Already the Best Feature Film winner at last November’s International Documentary Festival Amsterdam, Last Train Home chronicles a migrant-worker couple in Guangzhou trying to get on a train back to Sichuan to see their kids during the Chinese New Year, the busiest and most impossible travel period in China. Ella Taylor of NPR calls it her “favorite film of the festival, bar none… Watching this devastating portrait of a family trying to glue itself back together, you wonder how China, on its way to becoming the world’s richest nation, will avoid civil war if it doesn’t also attend to the needs of the millions of poverty-stricken families like this one.”

More info (including backlash from China) and video trailer after the break.

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Avatar Breaks Chinese Box Office Records — and Inspires Activists

Monday, January 18th, 2010

What do this:

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and this:

AMESDoc_MeishiStreet

have in common? Apparently, they are both images of urban gentrification in China.

The top image is from James Cameron’s Avatar, which recently set the opening-day box office record in China with 33 million yuan ($4.85 million US).  The film is on track to take over the record for total gross of 460 million yuan ($67 million US) set just months ago by Roland Emmerich’s 2012, which itself had just beaten the 450 million yuan earned by Transformers 2: The Revenge of the Fallen. 2009 was indeed a record year at the Chinese box office, whose 6.2 billion yuan toppled the 2008 take by a staggering 43%. Chinese films got in on the action, with five domestic features placing among the 2008 top ten earning films. (Full list after the break).

It’s somewhat reassuring that some Chinese have taken some political activist inspiration from their mainstream entertainment. British news source The Independent reports that Avatar has been embraced by potential evictees of urban neighborhoods slated for redevelopment (such as new shopping centers that feature state-of-the art cineplexes showing, um, Avatar):

Residents of China’s “nail houses” – so named because they are the last hold-outs in areas flattened for development – have likened their plight to those of the alien Nai’vi race in the blockbuster, as too have villagers in Hong Kong who face eviction to make way for a high-speed railway line.

“I’m touched by how they protect their homeland,” 81-year-old Wong Kam-fook told the South China Morning Post, referring to the war the Na’vi wage in the film against the human invaders.

For a more realistic depiction of this plight, one might look at the source of the second image, Ou Ning’s documentary Meishi Street, which shows ordinary citizens taking a stand against the planned destruction of their homes for the 2008 Beijing Olympics. In order to widen traffic routes for the Olympic Games, the Beijing Municipal Government orders the demolition of entire neighborhoods. Given video cameras by the filmmakers, evictees shoot exclusive footage of the eviction process, adding vivid intimacy to their story.

Click here for more information on Meishi Street. Trailer of Meishi Street and the list of top 10 grossing films in China in 2009 after the break.

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6th Annual China Independent Film Festival Lineup

Friday, October 9th, 2009

The Sixth China Independent Film Festival (CIFF) will be held in Nanjing from October 12-16th, 2009.  Here’s a listing of their screening programs. Screenings are held in the Nanjing Visual Art College and Nanjing Art University.

In addition there will be other discussions and presentations on Chinese independent cinema (including one by yours truly on behalf of dGenerate); there’s even a “Young Movie Critics” training course on tap.

Yang Jins Er Dong, a dGenerate Films catalog title, is among the titles participating in the Feature Film Competition. Other dGenerate directors who have films in the festival are Ying Liang (Good Cats) and Zhao Dayong (Rough Poetry).

Shelly Kraicer profiled the CIFF on his virtual tour of the Chinese independent film circuit. He wrote, “the festival cultivates a real sense of intellectual energy and ferment.”

Main program of films follows after the break.

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