In the past twenty years, China has witnessed the flowering of an
independent documentary cinema characterized by a particular verite
aesthetic. Independent Chinese Documentary traces the roots of this
style back to the 1980s, and the gradual abandonment of
studio-based filmmaking, dominant during the Maoist era, for
shooting live and on location. Known in Chinese as xianchang - or
being on "the scene" - this documentary practice is partly
distinguished by its embrace of the contingent. Through a series of
synoptic case studies, this book considers the different ways in
which contingency manifests in independent Chinese documentary; the
practical and aesthetic challenges its mediation presents for
individual film directors; and the reasons for the quality's
significance, set against the backdrop of China's ongoing
postsocialist transition, and the consequences of this process for
the very act of documentary representation itself.
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