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E-raamat: Wang Bing's Filmmaking of the China Dream: Narratives, Witnesses and Marginal Spaces

  • Formaat: EPUB+DRM
  • Sari: Critical Asian Cinemas
  • Ilmumisaeg: 01-Oct-2025
  • Kirjastus: Amsterdam University Press
  • Keel: eng
  • ISBN-13: 9781040791882
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  • Formaat: EPUB+DRM
  • Sari: Critical Asian Cinemas
  • Ilmumisaeg: 01-Oct-2025
  • Kirjastus: Amsterdam University Press
  • Keel: eng
  • ISBN-13: 9781040791882

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1. This book is the only publication covering the full spectrum of Wang Bing's activities in documentary film, fiction and art installation. 2. It is based on detailed film analyses and unique insights gained in the author's extensive conversations with Wang Bing collected in fifteen years of regular contacts in China, Europe, at film festivals and art exhibitions. 3. It offers an organic discussion of Wang Bing's activities read against the backdrop of the Chinese state narratives and policies. This volume offers an organic discussion of Wang Bing's filmmaking across China’s marginal spaces and against the backdrop of the state-sanctioned 'China Dream'. Wang Bing's cinema gives voice to the subaltern. Focusing on contemporary China, his work testifies to a set of issues dealing with inequality, labour, and migration. His internationally awarded documentaries are considered masterpieces with unique aesthetics that bear reference to global film masters. Therefore, this investigation goes beyond the divides between Western and non-Western film traditions and between fiction and documentary cinema. Each chapter takes a different articulation of space (spaces of labour, history, and memory) as its entry point, bringing together film and documentary studies, Chinese studies, and globalization studies. This volume benefits from the author's extensive conversations with Wang Bing and insider observations of film production and the film festival circuit.
Acknowledgements 9(2)
Editorial Note 11(2)
Foreword 13(6)
Alberto Barbera
Introduction 19(18)
The relevance of Wang Bing's filmmaking
19(5)
Themes, form, and narrative structure: A linked approach to Wang Bing's filmmaking
24(4)
Wang Bing a la Wong Kar-wai
28(2)
The book's genesis and structure
30(7)
1 Wang Bing's Cinematic Journey: A Counter-Narrative of the China Dream
37(26)
The centrality of space in Wang Bing's narrativized reality
38(6)
Chinese marginal spaces and uneven development
44(4)
Wang Bing's counter-journey of the China Dream
48(5)
Spaces in Wang Bing's oeuvre: An overview of the films and the issues at stake
53(10)
2 History in the Making: The Debut Epic Tiexi qu: West of the Tracks
63(24)
The debut epic Tiexi qu: West of the Tracks and its context
65(3)
Tiexi qu: West of the Tracks as a contemporary cinematic reportage
68(4)
Filming `history in the making' and the legacy of the Lumiere films
72(6)
Towards an epic of labour: From Terrence Malick's Days of Heaven to Tiexi qu: West of the Tracks
78(9)
3 Spaces of Labour: Three Sisters, 'Til Madness Do Us Part, Bitter Money
87(40)
Filming spaces of labour and cinema as labour
90(2)
The transition from the industrial space of the Tiexi district to rural and marginal spaces
92(4)
Three Sisters: An epic of survival reminiscent of John Ford's The Grapes of Wrath
96(8)
Duration in Wang Bing's cinema: The case of Three Sisters and Alone
104(2)
No Way Out: From Three Sisters to 'Til Madness Do Us Part
106(4)
`Til Madness Do Us Part: The camera work between `madness' and `love'
110(4)
Reaching the new centres of labour: From Tiexi qu: West of the Tracks to Bitter Money
114(3)
Earning money in hardship: Bitter Money
117(10)
4 Spaces of History and Memory: The Works on the Anti-Rightist Campaign
127(6)
PART I A Space Too Much: The Ditch
133(18)
The genesis of The Ditch (2003--2010)
133(4)
The Ditch: Carving out a space for documenting the past
137(4)
Historical spectacles: Wang Bing's The Ditch and Pier Paolo Pasolini's Said
141(4)
Ghosts of the past: Wang Bing's The Ditch and Brutality Factory and Pedro Costa's Colossal Youth
145(6)
PART II Spaces of Memory: Dead Souls
151(62)
From Fengming, A Chinese Memoir to Dead Souls
151(3)
The genesis of Dead Souls
154(3)
Spaces for survival: Archiving audiovisual witnesses
157(5)
The act of filming and spaces of death
162(3)
Wang Bing's Dead Souls and Claude Lanzmann's Shoah
165(6)
5 Collective Spaces -- Individual Narratives
171(28)
Man With No Name: Individual spaces of self-isolation
176(3)
Father and Sons: Individual spaces and deteriorating family structures
179(2)
Mi Niang and Ta'ang: Spaces of refuge and escape
181(5)
Mrs Fang: Individual spaces of death
186(7)
Beauty Lives in Freedom: Individual spaces of exile
193(6)
6 Concluding Remarks: Spaces of Exhibition and Spaces of Human Practice
199(14)
Filmography 213(8)
Bibliography 221(12)
Index 233
Elena Pollacchi is Senior Lecturer in Chinese Studies and has taught courses on Chinese-language film and documentary cinema, Asian cinema, and contemporary Chinese culture at Ca Foscari University of Venice (Italy), Stockholm University, and Gothenburg University (Sweden). She holds a PhD from Cambridge University in Chinese film studies and has published extensively on Chinese-language film and documentary cinema, film festivals, and film production and exhibition circuits. She is a member of the selection committee and programmer for Chinese-language film and South Korean cinema at the Venice International Film Festival.