Posts Tagged ‘nyff’

CinemaTalk: Conversation with David Bandurski, Ghost Town producer

Wednesday, September 23rd, 2009

dGenerate Films presents CinemaTalk, an ongoing series of conversations with esteemed scholars of Chinese cinema studies. These conversations are presented on this site in audio podcast and/or text format. They are intended to help the Chinese cinema studies community keep abreast of the latest work being done in the field, as well as to learn what recent Chinese films are catching the attention of others. This series reflects our mission to bring valuable resources and foster community around the field of Chinese film studies.

David Bandurski (photo courtesy of Bonnie Bandurski)

David Bandurski (photo by Bonnie Bandurski)

An award-winning journalist, David Bandurski is currently a writer and researcher for the China Media Project, a research program of the Journalism & Media Studies Centre at the University of Hong Kong. His writings have appeared in Far Eastern Economic Review, the Wall Street JournalIndex on Censorship, the South China Morning Post and other publications. He received a Human Rights Press Award in 2008 for an investigative piece for the Far Eastern Economic Review on China’s use of professional associations to enforce Internet censorship guidelines. David was also co-recipient of a Merit Prize in Commentary in 2007. Mr. Bandurski’s involvement with China’s nascent independent documentary scene began in 2005, as he made contact with several filmmakers while writing about the movement. Realizing the power of digital video technology, Mr. Bandurski decided to turn a planned long-form narrative article about the African community in Guangzhou into a documentary feature. This began a long and fruitful collaboration with Guangzhou-based filmmaker Zhao Dayong.

In this interview, dGenerate Films’ Kevin Lee talks to David Bandurski about his involvement with Ghost Town and director Zhao Dayong, the film’s reception both in China and abroad, and his ongoing work with the China Media Project.

Note: This interview was conducted with David via Skype. There are occasional moments of audio breakup. A full transcript follows after the break.

Play the Podcast (Time: 24:47)

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Download it here (right-click on the link, select “Save As”, file size: 11.3 MB)

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Ghost Town: a New Chapter for Chinese Cinema at the New York Film Festival

Wednesday, August 19th, 2009
Ghost Town (photo courtesy of Fanhall Films)

Ghost Town (photo courtesy of Fanhall Films)

Marking a breakthrough for the Chinese digital filmmaking community, director Zhao Dayong’s Ghost Town (Fei Cheng, 2008) was selected for the 47th New York Film Festival (September 25 – October 11), as the only Chinese entry in the lineup. This low-budget documentary shot on HD has never been shown in any major festival outside China; as of this article it has yet to even appear on IMDb and All Movie Guide. Yet it joins a prestigious NYFF lineup that features new works by renowned directors such as Alain Resnais, Pedro Almodovar, Jacques Rivette, and Lars von Trier. Its inclusion in the NYFF represents a first in the festival’s program: a nod to China’s digital generation of documentary filmmakers.

According to the website of Fanhall Films, a multi-faceted indie film support organization based in Beijing, the three-hour documentary is not about phantoms, but the Lisu and Nu minority villagers in the abandoned halls of a remote former communist county seat in the southwestern province of Yunnan, China. Consisting of three chapters, “Voices,” “Recollections,” and “Innocence,” the film observes and records the mode of existence of the nameless and the forgotten, offering extraordinary insights into such topics as religious faith, relationships, juvenile deviants, generational differences, and lost history.

Dennis Lim, a member of this year’s NYFF jury and a major voice in promoting Chinese independent cinema, shared his reasons for selecting the film with dGenerate Films’ Kevin Lee: “Ghost Town is one of the most surprising and rewarding films I’ve seen all year, one of the most important films to have emerged from the booming (but still underexplored) field of Chinese independent documentaries.” Fellow jury member Scott Foundas also considered the film an exciting discovery, exclaiming: “I didn’t think there was another Jia Zhangke or Wang Bing lurking out there, but it turns out there is!”

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