Paul G. Pickowicz

Yingjin Zhang

This cutting-edge book examines the rapidly developing scene of Chinese independent documentary, arguably the most courageous player in contemporary Chinese visual culture. The authors explore two areas that are of special interest to China studies and film studies, respectively: (1) filming the everyday in twenty-first-century China to foreground contestation and diversity and (2) exploring the aesthetic of remembering in an embodied documentary practice, which turns the gaze on artists themselves and encourages the viewer’s engagement with the filmed subjects and environment. Highlighting documentary contestation in China, the book traces its cacophony of expressions, some of it featuring confrontations with domineering elites, some of it highlighting negotiations among the independent filmmakers themselves. Their goal is not a “movement” that seeks to establish and impose a single truth, but rather a creative dynamic that fosters a community of tolerance and respects diverse forms of expression. Independent documentary is quite literally a moving target that is witnessing ongoing and widening diversity and complexity when it comes to directors, themes, aesthetics, human subjects, audiences, and impact. The authors stress the enormous potential of cultural production that features non-elites (including amateurs) and that dwells on the everyday, the bottom up, the grassroots, the seemingly mundane, and the apparently marginal. The book’s emphasis on contemporary issues and its discussion of aesthetic experiments will appeal to all readers interested in China’s culture, media, politics, and society.

Independent Documentaries in Twenty-First-Century China

Filming the Everyday

Perry Link

Jeremy A. Murray

This unique book is the first to bring together a group of leading China experts to reflect on their cultural and social encounters while travelling and living in the PRC. Covering nearly a half-century, these stories open a vivid window on a rapidly evolving country and on the zigzag learning curve of the China trippers themselves.

Encountering the Everyday in the People’s Republic

China Tripping

Sherman Cochran

China on the Margins

Richard P. Madsen

This compelling book explores the explosive pace of change in China and how its citizens are grappling with a dramatically new world, both in the public and private spheres. There is enormous popular pride in the ascension of China to the rank of global superpower and general satisfaction in the material benefits that the poor as well as the rich have been gaining from an expanding economy. But there is also great restlessness, anger about structural injustice and political corruption, and a search for new forms of spirituality and ethics to replace a collapsing moral order. The question “What does it mean, in the new day, to be Chinese?” lurks just beneath the surface. This unique interdisciplinary book frames this central issue through an innovative set of case studies on such cutting-edge topics as reality dating shows, countercultural invented language, star bloggers, faith healers, and subversive jokes.

Restless China

Nick Browne

Vivian Sobchack

Esther Yau

Analyses the changing forms and significance of filmmaking in the People's Republic of China, Taiwan, and Hong Kong since the end of the Cultural Revolution.

Forms, Identities, Politics

New Chinese Cinemas

Leading scholar Paul G. Pickowicz traces the dynamic history of Chinese filmmaking and discusses its course of development from the early days to the present. Moving decade by decade, he explores such key themes as the ever-shifting definitions of modern marriage in 1920s silent features, East-West cultural conflict in the movies of the 1930s, the strong appeal of the powerful melodramatic mode of the 1930s and 1940s, the polarizing political controversies surrounding Chinese filmmaking under the Japanese occupation of Shanghai in the 1940s, and the critical role of cinema during the bloody civil war of the late 1940s. Pickowicz then considers the challenging Mao years, including chapters on legendary screen personalities who tried but failed to adjust to the new socialist order in the 1950s, celebrities who made the sort of artistic and political accommodations that would keep them in the spotlight in the post-revolutionary era, and insider film professionals of the early 1960s who actively resisted the most extreme forms of Maoist cultural production. The book concludes with explorations of the highly cathartic films of the early post-Mao era, edgy postsocialist movies that appeared on the eve of the Tiananmen demonstrations of 1989, the relevance of the Eastern European "velvet prison" cultural production model, and the rise of underground and independent filmmaking beginning in the 1990s.Throughout its long history of film production, China has been embroiled in a seemingly unending series of wars, revolutions, and jarring social transformations. Despite daunting censorship obstacles, Chinese filmmakers have found ingenious ways of taking political stands and weighing in--for better or worse--on the most explosive social, cultural, and economic issues of the day. Exploring the often gut-wrenching controversies generated by their work, Pickowicz offers a unique and perceptive window on Chinese culture and society.

A Century of Exploration, Confrontation, and Controversy

China on Film

Robert B. Marks

Catherine Lynch

Representing a spectrum of current scholarship, this volume illuminates the relationship of China's radical past to its reformist present as China makes a way forward through contested visions of the future. It contributes new insights into Mao Zedong, including his surprising relations with the Dalai Lama, and into Communist legacies for the environment, the rural economy, and independent filmmaking as protest, at the same time posing the question of whether the radical past of envisioning new paths to a modern future has yet a role to play.

Essays in Honor of Maurice Meisner

Radicalism, Revolution, and Reform in Modern China

Mark Selden

Edward Friedman

Drawing on more than a quarter century of field and documentary research in rural North China, this book explores the contested relationship between village and state from the 1960s to the start of the twenty-first century. The authors provide a vivid portrait of how resilient villagers struggle to survive and prosper in the face of state power in two epochs of revolution and reform. Highlighting the importance of intra-rural resistance and rural-urban conflicts to Chinese politics and society in the Great Leap and Cultural Revolution, the authors go on to depict the dynamic changes that have transformed village China in the post-Mao era. This book continues the dramatic story in the authors’ prizewinning Chinese Village, Socialist State. Plumbing previously untapped sources, including interviews, archival materials, village records and unpublished memoirs, diaries and letters, the authors capture the struggles, pains and achievements of villagers across three generations of social upheaval.

Revolution, Resistance, and Reform in Village China

Leading scholar Paul G. Pickowicz traces the dynamic history of Chinese filmmaking and discusses its course of development from the early days to the present. Moving decade by decade, he explores such key themes as the ever-shifting definitions of modern marriage in 1920s silent features, East-West cultural conflict in the movies of the 1930s, the strong appeal of the powerful melodramatic mode of the 1930s and 1940s, the polarizing political controversies surrounding Chinese filmmaking under the Japanese occupation of Shanghai in the 1940s, and the critical role of cinema during the bloody civil war of the late 1940s. Pickowicz then considers the challenging Mao years, including chapters on legendary screen personalities who tried but failed to adjust to the new socialist order in the 1950s, celebrities who made the sort of artistic and political accommodations that would keep them in the spotlight in the post-revolutionary era, and insider film professionals of the early 1960s who actively resisted the most extreme forms of Maoist cultural production. The book concludes with explorations of the highly cathartic films of the early post-Mao era, edgy postsocialist movies that appeared on the eve of the Tiananmen demonstrations of 1989, the relevance of the Eastern European “velvet prison” cultural production model, and the rise of underground and independent filmmaking beginning in the 1990s. Throughout its long history of film production, China has been embroiled in a seemingly unending series of wars, revolutions, and jarring social transformations. Despite daunting censorship obstacles, Chinese filmmakers have found ingenious ways of taking political stands and weighing in—for better or worse—on the most explosive social, cultural, and economic issues of the day. Exploring the often gut-wrenching controversies generated by their work, Pickowicz offers a unique and perceptive window on Chinese culture and society.

Paul G. Pickowicz

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