| Acknowledgements |
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9 | (2) |
| Editorial Note |
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11 | (2) |
| Foreword |
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13 | (6) |
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| Introduction |
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19 | (18) |
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The relevance of Wang Bing's filmmaking |
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19 | (5) |
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Themes, form, and narrative structure: A linked approach to Wang Bing's filmmaking |
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24 | (4) |
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Wang Bing a la Wong Kar-wai |
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28 | (2) |
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The book's genesis and structure |
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30 | (7) |
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1 Wang Bing's Cinematic Journey: A Counter-Narrative of the China Dream |
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37 | (26) |
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The centrality of space in Wang Bing's narrativized reality |
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38 | (6) |
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Chinese marginal spaces and uneven development |
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44 | (4) |
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Wang Bing's counter-journey of the China Dream |
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48 | (5) |
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Spaces in Wang Bing's oeuvre: An overview of the films and the issues at stake |
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53 | (10) |
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2 History in the Making: The Debut Epic Tiexi qu: West of the Tracks |
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63 | (24) |
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The debut epic Tiexi qu: West of the Tracks and its context |
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65 | (3) |
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Tiexi qu: West of the Tracks as a contemporary cinematic reportage |
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68 | (4) |
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Filming `history in the making' and the legacy of the Lumiere films |
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72 | (6) |
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Towards an epic of labour: From Terrence Malick's Days of Heaven to Tiexi qu: West of the Tracks |
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78 | (9) |
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3 Spaces of Labour: Three Sisters, 'Til Madness Do Us Part, Bitter Money |
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87 | (40) |
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Filming spaces of labour and cinema as labour |
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90 | (2) |
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The transition from the industrial space of the Tiexi district to rural and marginal spaces |
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92 | (4) |
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Three Sisters: An epic of survival reminiscent of John Ford's The Grapes of Wrath |
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96 | (8) |
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Duration in Wang Bing's cinema: The case of Three Sisters and Alone |
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104 | (2) |
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No Way Out: From Three Sisters to 'Til Madness Do Us Part |
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106 | (4) |
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`Til Madness Do Us Part: The camera work between `madness' and `love' |
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110 | (4) |
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Reaching the new centres of labour: From Tiexi qu: West of the Tracks to Bitter Money |
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114 | (3) |
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Earning money in hardship: Bitter Money |
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117 | (10) |
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4 Spaces of History and Memory: The Works on the Anti-Rightist Campaign |
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127 | (6) |
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PART I A Space Too Much: The Ditch |
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133 | (18) |
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The genesis of The Ditch (2003--2010) |
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133 | (4) |
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The Ditch: Carving out a space for documenting the past |
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137 | (4) |
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Historical spectacles: Wang Bing's The Ditch and Pier Paolo Pasolini's Said |
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141 | (4) |
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Ghosts of the past: Wang Bing's The Ditch and Brutality Factory and Pedro Costa's Colossal Youth |
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145 | (6) |
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PART II Spaces of Memory: Dead Souls |
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151 | (62) |
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From Fengming, A Chinese Memoir to Dead Souls |
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151 | (3) |
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The genesis of Dead Souls |
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154 | (3) |
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Spaces for survival: Archiving audiovisual witnesses |
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157 | (5) |
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The act of filming and spaces of death |
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162 | (3) |
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Wang Bing's Dead Souls and Claude Lanzmann's Shoah |
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165 | (6) |
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5 Collective Spaces -- Individual Narratives |
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171 | (28) |
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Man With No Name: Individual spaces of self-isolation |
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176 | (3) |
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Father and Sons: Individual spaces and deteriorating family structures |
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179 | (2) |
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Mi Niang and Ta'ang: Spaces of refuge and escape |
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181 | (5) |
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Mrs Fang: Individual spaces of death |
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186 | (7) |
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Beauty Lives in Freedom: Individual spaces of exile |
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193 | (6) |
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6 Concluding Remarks: Spaces of Exhibition and Spaces of Human Practice |
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199 | (14) |
| Filmography |
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213 | (8) |
| Bibliography |
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221 | (12) |
| Index |
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233 | |