Posts Tagged ‘digital underground’

dGenerate Titles now available on Objective Cinema

Thursday, November 18th, 2010

By Isabella Tianzi Cai

Three dGenerate films are now available on Objective Cinema, a newly launched online platform for select social- and political-themed films.

The films are Ban Zhongyi’s Gai Shanxi and Her Sisters, Rachel Tejada’s Digital Underground in the People’s Republic, and Ou Ning’s Meishi Street.

Watch now on Objective Cinema:

Gai Shanxi and Her Sisters

Digital Underground in the People’s Republic

Meishi Street

The goal of Objective Cinema is to support and encourage social change at a grass roots level by making socially conscious films available to a worldwide audience. Gai Shanxi and Her Sisters documents the story around a group of Chinese women forced into sex slavery by Japanese soldiers in the Sino-Japanese War. Digital Underground in the People’s Republic penetrates the close circle of contemporary Chinese filmmakers and brings their voices to the fore. And Meishi Street archives the images of a demolished street in Beijing and the grievances of the uprooted residents for the 2008 Olympic Games.

Trailers, intros, and stills from the films are also available on Object Cinema’s website. Registered members can also rent the films online for a period of 48 hours or buy them on DVD.

Online Project on Chinese Underground Cinema and Piracy

Friday, April 9th, 2010

We were pleased to discover this wonderful online project created by Dan Carrington, a student at the University of Amsterdam, as part of a class blog project titled “Curating the Moving Image.” Carrington’s project, titled “Chinese Underground Cinema and Piracy: ‘Images that Cannot be Banned,'” is an online resource intended to expand interest and discussion about Chinese underground cinema. From the introduction:

“Images that Cannot be Banned” will offer a program of both fictional and documentary feature films as a way of introducing and exploring an interest in Chinese underground cinema. Through contextualisation, the primary intention of the selection is not to produce a ‘canonical’ list, but rather, to construct a snapshot of underground and independent filmmaking by tracing a web of links and commonalities inherent within emerging trends in Chinese filmmaking over the past decade.

What I like about this statement is the desire to resist producing a canon or list of key films. While there are several films that would be worthy of such a distinction, the Chinese underground cinema movement is a relatively new phenomenon still in the process of maturing and defining its historical legacy. It should be acknowledged that dGenerate took a significant step in commemorating the achievements of the movement with our poll of the greatest Chinese films of the 2000s, in which numerous digital independent productions were cited. But at the same time, there is such a wealth of creative activity being generated by the Chinese underground scene, that singling out specific films risks misrepresenting the collective nature of the movement, as a response to a larger and multifaceted sense of crisis underlying the radical social development of China in the post-Reform era.

It’s encouraging to see that a number of articles found on the dGenerate site are linked by Carrington as key resources for learning about Chinese underground cinema, as well as our short documentary Digital Underground in the People’s Republic, which, we hope, gives an impression of how much this aesthetic movement is the result of a collective effort involving not just directors, but producers, programmers and audiences.