دانلود کتاب China’s iGeneration: Cinema and Moving Image Culture for the Twenty-First Century

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Cover\nHalf-title\nTitle\nCopyright\nContents\nForeword: China’s iGeneration: From Film Studies to Screen Studies\nAcknowledgements\nNotes on Transliteration\nList of Figures and Tables\nIntroduction: China’s iGeneration Cinema Dispersion, Individualization and-WTO Moving Image Practices\n Cultural dispersion in a WTO era\n iGeneration cinema: Scene, technologies, global contexts\n The iGeneration scene\n iGeneration technologies\n The iGeneration in global context(s)\n Structure of the volume\n Works cited\n Notes\nPart One: Technologies\n 1 Toward a Communicative Practice: Female First-Person Documentary in Twenty-first Century China\n Defining first-person filmmaking in the West\n Women’s first-person documentary in individualizing China\n A strong authorial voice\n Still a relational self\n Ethics of screening\n More women first-person documentaries\n Works cited\n Notes\n 2 Quasi-Documentary, Cellflix and Web Spoofs: Chinese Movies’ Other Visual Pleasures\n The sensual panda: Ceci n’est pas un documentaire\n Lightness and internet movies\n Quasi-conclusions: Popular culture and unpopular movies\n Works cited\n Notes\n 3 Individuality, State Discourse and Visual Representation: The Imagination and Practices of the iGeneration in Chinese Animation\n The rejuvenation of animation on Chinese television – a historical review\n The coming of age of independent animation\n The rise and fall of flash animation during the 2000s\n Conclusion: Individuality, state discourse and visual representation\n Works cited\n Notes\n 4 Cinema of Exhibition: Film in Chinese Contemporary Art\n The birth of Chinese video art\n Independent film, the new documentary movement and new media art\n Art galleries and biennials\n The cinema of the future\n Works cited\n Notes\nPart Two: Aesthetics\n 5 Goodbye to the Grim Real, Hello to What Comes Next: The Moment of Passage from the Sixth Generation to the iGeneration\n Works cited\n Notes\n 6 Digitizing City Symphony, Stabilizing the Shadow of Time: Montage and Temporal–Spatial Construction in\n Metrical montage and the manipulation of cinematic time\n Temporalizing visual and acoustic space\n Conclusion\n Works cited\n Notes\n 7 From Pirate to Kino-eye: A Genealogical Tale of Film Re-Distribution in China\n A generation of pirate-cinephile\n Kino-eye, pirate-eye\n DVD culture\n Post-WTO pirate filmmakers: Documenting pirate-eyes\n Conclusion\n Works cited\n Notes\n 8 Xue Jianqiang as Reckless Documentarian: Underdevelopment and Juvenile Crime in post-WTO China\n Xue’s tongue-in-cheek attitude\n A reckless approach to Chinese documentary film\n Taiyuan\n Contextualizing underdevelopment and crime\n Conclusion\n Works cited\n Notes\nPart Three: Social Engagement\n 9 Of Animals and Men: Towards a Theory of Docu-ani-mentary\n The work animal\n The domestic animal\n The wild animal\n The show animal\n Conclusion\n Works cited\n Notes\n 10 Working with Rubble: Montage, Tweets and the Reconstruction of an Activist Documentary\n In search for the political activist: Hu Jie’s Searching for Lin Zhao’s Soul and Ai Xiaoming’s The Vagina Monologue\n Investigating ruins: Grassroots perspectives in Ai Xiaoming and Hu Jie’s Our Children\n Piecing together wreckage: Montage over long-takes\n From montage to tweets: Ai Xiaoming ‘RT’ (re-tweets) Ai Weiwei\n Conclusion: Montage, tweets and reconstruction of an activist cinema\n Works cited\n Notes\n 11 Provincializing the Chinese Mediascape: Cantonese Digital Activism in Southern China\n Cantonese activism and its discontents\n Provincial media industries in contemporary China\n Rap Cantonese: Netizen ‘Vidding’\n Transmedia flow and the dissemination of Rap Cantonese\n Conclusion\n Works cited\n Notes\nPart Four: Platforms and Politics\n 12 Interpreting ScreenSpaces at the Shanghai Expo and Beyond\n Introduction\n The proliferation of ScreenSpace: Urban theatres and public screens\n The animated scroll at the Shanghai Expo China pavilion: Spectator immersion and mobile experience\n The Shanghai Expo as historical montage: Jia Zhangke’s I Wish I Knew\n Alternative ScreenSpace: Jian Yi and the Qingyuanshe ‘memory project’\n Conclusion\n Works cited\n Notes\n 13 Regarding the Grassroots Chinese Independent Film Festivals: Modes of Multiplicity and Abnormal Film Networking\n Two stages of exhibiting Chinese independent cinema\n Minjian Film Festival Network: Departing from Songzhuang\n Mapping CIFVF geopolitically\n Conclusion: The mode of multiplicity and the abnormal festival\n Works cited\n Filmography\n Notes\n 14 Bringing the Transnational Back into Documentary Cinema: Wu Wenguang’s China Village Documentary Project, Participatory Video and the NGO Aesthetic\n The China Village Documentary Project: An overview\n Situating the NGO Aesthetic: Village elections and the EU-China Training Programme on Village Governance\n The moving image culture of village democratization\n ‘Their own words’: Feeling good about villagers and bringing back independence\n Conclusion\n Works cited\n Notes\n 15 The Cinematic Deng Xiaoping: Scripting a Leader or a ‘Traitor’?\n Works cited\n Notes\nPart Five: Online Audiences\n 16 Zhang Yimou’s Sexual Storytelling and the iGeneration: Contending\n Douban, the marketization of culture and online contention in China\n Under the Hawthorn Tree: Synopsis, marketing campaign and internet reception\n Methods, terms and contexts\n Negative reviews: Contention of Hawthorn’s sexual storytelling\n Positive reviews: Romance as resistance\n Counter-contention\n Conclusion\n Works cited\n Notes\n 17 From the Glaring Sun to Flying Bullets: Aesthetics and Memory in the ‘Post-’ Era Chinese Cinema\n Elliptical remembrance and erotic memories\n A textual reading of the invisible\n The inalienable possessions and the production of cinema\n Exchangeable bullets\n Conclusion\n Works cited\n Notes\nNotes on Contributors\nIndex