04922nam a22005535i 4500001001800000003000900018005001700027007001500044008004100059020003700100024003500137050001600172072001500188072001500203072002300218072001800241100008000259245013600339250001800475264007900493300004400572336002600616337002600642338003600668347002400704490004300728505062100771520236301392650003403755650002803789650003603817650003003853650002803883650002003911650003003931650004003961650003204001650002604033710003404059773002604093776003604119776003604155776003604191830005004227856004604277912001404323912001404337999001704351978-3-031-57908-0DE-He21320251030113136.0cr nn 008mamaa241011s2024    sz |    s    |||| 0|eng d  a97830315790809978-3-031-57908-07 a10.1007/978-3-031-57908-02doi 4aPN1993-1999 7aAP2bicssc 7a1F2bicssc 7aPER0040002bisacsh 7aATx1F2thema1 aLiu, Muyun.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut98585210aIndependent Chinese Documentary Cinemah[electronic resource] :bPerspectives on Time and Ecological Phenomenology /cby Muyun Liu.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXII, 208 p. 46 illus.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda1 aEast Asian Popular Culture,x2634-59430 aChapter 1: Introduction,- Chapter 2: The linear temporality of socialist realist film The Great Land Reform -- Chapter 3: The xianchang aesthetics and entropic rhythms in Doctor Ma’s Country Clinic and Lost in Home -- Chapter 4: The cinematic simulacra of a hyperreal capital time in the documentary films China Blue and China’s Van Goghs -- Chapter 5: Digital ruin gazing in Wang Jiuliang’s Beijing Besieged by Waste and ruinic traces in Zhao Liang’s Behemoth -- Chapter 6: Ecological ontology and creative gleaning in Yak Dung, the Aoluguya trilogy, Huamulin Village Oh Little Qiang and The Gleaners and I.  a"Muyun Liu’s impressive book offers an original and important study of China’s Independent Documentary Film Movement spearheaded by a group of experimental, grass-roots filmmakers. It explores how the accessibility of digital video cameras led to a new wave of films by individuals motivated not by pedagogical goals but by their desire to capture images of everyday life that document the working lives of ordinary people. These films focus on diversity of voices, plurality of beliefs, and interconnectedness of people from very different walks of life. They also expose economic, social and cultural injustices as well as pressing environmental issues. This is an important and inspiring book that offers the readers a different view of the forces that make-up modern Chinese society. A must-read for anyone interested in the key role of new wave documentary filmmaking in our understanding of the forces that are shaping contemporary Chinese society." —Professor Jeanette Hoorn, The University of Melbourne, Australia "Liu’s book is significant not only for its focus on work little known to English-speaking audiences, or even for its expansion of documentary aesthetics, but for its conceptual depth. From xianchang to moving image as accelerated hyperreal ruin and the tensions of existential freedom and difference, Liu makes a profound contribution to global ecomedia studies.” —Professor Seán Cubitt, University of Melbourne, Australia This book explores the history of, and approaches to, documentary production within China from the Land Reform to the present day. It examines the institutionalisation of socialist realism during the PRC’s revolutionary era; considers the emergence of the fluid xianchang aesthetics and the creation of contingent subjectivities in relation to physicist Carlo Rovelli’s loop quantum gravity theory; explores two factory films through the angle of temporality; argues that time in the post-X era is multi-layered and can be experimented through a cinematic ruin aesthetics; and theorises ecological temporality in relation to Jean-Paul Sartre’s ontology on being as freedom and Caroline Godart’s analysis of difference. Muyun Liu, PhD, is admitted to the Supreme Court of Victoria, Australia. She is a lawyer based in Melbourne, and received her PhD from the University of Melbourne in 2018. 0aMotion picturesxAsia.978967 0aMotion pictures.958496 0aTelevision broadcasting.967524 0aDocumentary films.977353 0aEthnologyxAsia.966900 0aCulture.95915914aAsian Film and TV.97896824aFilm and Television Studies.96752524aDocumentary Studies.97735424aAsian Culture.9669022 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303157907308iPrinted edition:z978303157909708iPrinted edition:z9783031579103 0aEast Asian Popular Culture,x2634-594398585340uhttps://doi.org/10.1007/978-3-031-57908-0  aZDB-2-LCM  aZDB-2-SXL  c64113d64113