Posts Tagged ‘ying qian’

A Visit with “Red Collector” Liu Debao

Thursday, September 1st, 2011

"Red Collector" Liu Debao in his studio filled with vintage Mao memorabilia (photo: Shanghai Journal)

On his blog Shanghai Journal, Andrew Field reports on his encounter with Liu Debao, a Shanghai artist who has collected over 3,600 film reels from the Mao era. Field first heard about Liu from an interview with cinema scholar Chris Berry posted on our site. He visited Liu in his studio along with Ying Qian of Harvard, who is currently researching Mao era Chinese cinema. A full report of their visit can be found on Field’s blog.

Two films that are probably not in Liu’s collection, but are essential records of Mao era China, are Though I Am Gone and Searching for Lin Zhao’s Soul, both directed by Hu Jie. Learn more about them in dGenerate’s catalog.

Cinematalk: Interview with Ying Qian of Harvard

Tuesday, August 2nd, 2011

By Michael Chenkin

Ying Qian

Ying Qian is a PhD candidate in East Asian Languages and Civilizations at Harvard University. Qian’s area of focus involves examining the evolving documentary visions in 20th century China. She is interested in the social processes and “film thinking” that have enabled and shaped the making of documentary images, and the ways in which these images have provided framings, interventions and agencies to historical change.

Recently, Qian co-organized a conference titled “Just Images: Ethics and Chinese Documentary” at the Fairbank Center for Chinese Studies at Harvard. We spoke with Qian about the highlights of the conference as well as her ongoing research in Chinese documentary.

dGF: Could you give a brief overview of your research? What are your specific interests within the field of documentary film study?

Ying Qian: I’m writing a dissertation on the history of Chinese documentary since the Mao era. I also write about documentary practices in the Republican period in my introduction chapter. My interest in documentary cinema was initiated by encounters with contemporary independent documentary, and I used to make my own documentary films as well.

In my dissertation, I try to move the timeline further back. When talking about contemporary documentary, critics would point out that these films are very different from the official practices and especially from the documentary practices of an earlier era. New documentaries do not usually have a “Voice-of-God” commentary; they also have different approaches to conceptualize reality and deal with contingency in filmmaking. These observations are clearly true; though I think the division between the past and the present is not so binary. When one examines the documentary productions in the Mao-era seriously, one finds some important continuities despite many ruptures. I see documentary of the present as multiple responses to the end of the Mao-era.

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