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'My' Self on Camera is the first book to explore first person
narrative documentary in China's post-Mao era. Since the emergence
of the individual as an ever more important social figure in China,
this mode of independent filmmaking and cultural practice has
become increasingly significant. Combining the approach of cultural
ethnography, interviews, and textual analysis of selected films,
this study examines the motivations, key aesthetic features and
ethical tensions of presenting the self on camera, as well as the
socio-political, cultural and technical conditions surrounding its
practice. This book problematises how the sense of self and
subjectivities are understood in contemporary China, and provides
illuminating new insights on the changing notion of the individual
through cinema.
'My' Self on Camera is the first book to explore first person
narrative documentary in China's post-Mao era. Since the emergence
of the individual as an ever more important social figure in China,
this mode of independent filmmaking and cultural practice has
become increasingly significant. Combining the approach of cultural
ethnography, interviews, and textual analysis of selected films,
this study examines the motivations, key aesthetic features and
ethical tensions of presenting the self on camera, as well as the
socio-political, cultural and technical conditions surrounding its
practice. This book problematises how the sense of self and
subjectivities are understood in contemporary China, and provides
illuminating new insights on the changing notion of the individual
through cinema.
This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
This innovative collection of essays on twenty-first century
Chinese cinema and moving image culture features contributions from
an international community of scholars, critics, and practitioners.
Taken together, their perspectives make a compelling case that the
past decade has witnessed a radical transformation of conventional
notions of cinema. Following China's accession to the WTO in 2001,
personal and collective experiences of changing social conditions
have added new dimensions to the increasingly diverse Sinophone
media landscape, and provided a novel complement to the existing
edifice of blockbusters, documentaries, and auteur culture. The
numerous 'iGeneration' productions and practices examined in this
volume include 3D and IMAX films, experimental documentaries,
animation, visual aides-memoires, and works of pirated pastiche.
Together, they bear witness to the emergence of a new Chinese
cinema characterized by digital and, trans-media representational
strategies, the blurring of private/public distinctions, and
dynamic reinterpretations of the very notion of 'cinema' itself.
This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
This innovative collection of essays on twenty-first century
Chinese cinema and moving image culture features contributions from
an international community of scholars, critics, and practitioners.
Taken together, their perspectives make a compelling case that the
past decade has witnessed a radical transformation of conventional
notions of cinema. Following China's accession to the WTO in 2001,
personal and collective experiences of changing social conditions
have added new dimensions to the increasingly diverse Sinophone
media landscape, and provided a novel complement to the existing
edifice of blockbusters, documentaries, and auteur culture. The
numerous 'iGeneration' productions and practices examined in this
volume include 3D and IMAX films, experimental documentaries,
animation, visual aides-memoires, and works of pirated pastiche.
Together, they bear witness to the emergence of a new Chinese
cinema characterized by digital and, trans-media representational
strategies, the blurring of private/public distinctions, and
dynamic reinterpretations of the very notion of 'cinema' itself.
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