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Xue Jianqiang as Reckless Documentarian

Keith B. Wagner

Keith B. Wagner is an Assistant Professor of Film Studies and Social Theory in the Graduate School of Film and Digital Media at Hongik University in Seoul, South Korea. Before moving to Asia, he completed his M.Phil degree at the University of Cambridge and his PhD at King’s College London. He is the co-editor of Neoliberalism and Global Cinema: Capital, Culture and Marxist Critique (2011) and is completing a manuscript based on his dissertation entitled Living with Uncertainty: Precarious Labor in Global Cinema. Author affiliation details are correct at time of print publication.

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

Bloomsbury Academic, 2014

Book chapter

4

...Standing in front of Wu Wenguang’s Beijing studio in 2010, young documentarian Xue Jianqiang is found violently knocking at his predecessor’s door. Armed with his DV camera in his film, I Beat Tiger When I Was Young/Wo nianqing shi ye da...

China’s iGeneration Cinema

Keith B. Wagner

,

Keith B. Wagner is an Assistant Professor of Film Studies and Social Theory in the Graduate School of Film and Digital Media at Hongik University in Seoul, South Korea. Before moving to Asia, he completed his M.Phil degree at the University of Cambridge and his PhD at King’s College London. He is the co-editor of Neoliberalism and Global Cinema: Capital, Culture and Marxist Critique (2011) and is completing a manuscript based on his dissertation entitled Living with Uncertainty: Precarious Labor in Global Cinema. Author affiliation details are correct at time of print publication.

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Tianqi Yu

Tianqi Yu is a filmmaker, and Assistant Professor of Film and Media Studies, University of Nottingham, China campus (Ningbo). She received an MPhil in Sociology from the University of Cambridge, and a PhD from the Centre for Research and Education in Arts and Media, the University of Westminster. Her research focuses on documentary, amateur cinema, Chinese cinema and visual arts. Yu is completing her monograph ‘My’ Self On Camera – First Person Documentary Practice in Twenty-first Century China (Edinburgh University Press). As a filmmaker, her works include Photographing Shenzhen (2007, Discovery), and Memory of Home (2009, collected by DSLCollection). Yu is also a member of the editorial board of the Journal of Contemporary Chinese Art. Author affiliation details are correct at time of print publication.

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Luke Vulpiani

Luke Vulpiani is a PhD candidate at King’s College London under the supervision of Dr Viktor Fan. He has a 1st Class BA Degree in Film Studies from The University of Warwick and a MA in Chinese Studies from the School of Oriental and African Studies (SOAS), University of London. His research focuses on aesthetic theory, Chinese film and the relationship between film and philosophy, psychoanalysis and politics. Author affiliation details are correct at time of print publication.

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

Bloomsbury Academic, 2014

Book chapter

7

... a critique of fledgling government involvement in rural areas with his trademark flair for politicizing the banality of neglect. Moving in a different direction from Wu and Johnson’s assessment of him, Keith B. Wagner discusses the less...

Cinema of Exhibition: Film in Chinese Contemporary Art

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

Bloomsbury Academic, 2014

Book chapter

1

...Dong Bingfeng is regarded as one of the most active curators and art critics working on Chinese contemporary art and visual culture in mainland China today. In the past eight years he has worked at several different contemporary art...

Quasi-Documentary, Cellflix and Web Spoofs

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

Bloomsbury Academic, 2014

Book chapter

1

...In China, as elsewhere, new locations and new media have redefined the experience of watching a moving image, beyond just the cinematic experience.Art historians, critics and curators have been quite active in the debate over the new...

From the Glaring Sun to Flying Bullets

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

Bloomsbury Academic, 2014

Book chapter

1

...How do we remember the past in a post-medium era in which our memories of a previous era are increasingly reliant upon, and thus continually revised by, the ubiquitous presence of media networks? Writing about the weakening historicity...

Zhang Yimou’s Sexual Storytelling and the iGeneration: Contending Shanzhashu Zhi Lian (Under the Hawthorn Tree) on Douban

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

Bloomsbury Academic, 2014

Book chapter

1

...Since at least the start of the twenty-first century, China’s internet users have increasingly been turning to the public, interactive spaces of the web, not only to review and debate new film releases, but also to discuss the broader...

Goodbye to the Grim Real, Hello to What Comes Next

Luke Vulpiani

Luke Vulpiani is a PhD candidate at King’s College London under the supervision of Dr Viktor Fan. He has a 1st Class BA Degree in Film Studies from The University of Warwick and a MA in Chinese Studies from the School of Oriental and African Studies (SOAS), University of London. His research focuses on aesthetic theory, Chinese film and the relationship between film and philosophy, psychoanalysis and politics. Author affiliation details are correct at time of print publication.

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

Bloomsbury Academic, 2014

Book chapter

4

... in Jyostnsa Kapur and Keith B. Wagner (eds), Neoliberalism and Global Cinema: Capital, Culture and Marxist Critique. London: Routledge, 2011, 135–56. The danwei in Mao’s China was the fundamental social and political structure that organized work...

Digitizing City Symphony, Stabilizing the Shadow of Time

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

Bloomsbury Academic, 2014

Book chapter

4

...The author wants to thank Keith B. Wagner, Paola Iovene, Ou Ning, Xie Wen, Miriam Hansen, James Lastra, Adam Hart, Nathan Holmes, Thomas Kelly, Cordell Green, and members of ‘mass culture workshop’ at the University of Chicago,...

Individuality, State Discourse and Visual Representation

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

Bloomsbury Academic, 2014

Book chapter

2

... Studio, Miaoyin Motion Pictures, B&T Studio, Pacoo, Sinodoor Animation,See http://www.e-toon.com.cn/; http://www.xoyto.com/; http://www.snailcn.com/; http://www.miaoyin.org/; http://www.xxbt.com/; http://www.pacoo.net/;...

Toward a Communicative Practice

Tianqi Yu

Tianqi Yu is a filmmaker, and Assistant Professor of Film and Media Studies, University of Nottingham, China campus (Ningbo). She received an MPhil in Sociology from the University of Cambridge, and a PhD from the Centre for Research and Education in Arts and Media, the University of Westminster. Her research focuses on documentary, amateur cinema, Chinese cinema and visual arts. Yu is completing her monograph ‘My’ Self On Camera – First Person Documentary Practice in Twenty-first Century China (Edinburgh University Press). As a filmmaker, her works include Photographing Shenzhen (2007, Discovery), and Memory of Home (2009, collected by DSLCollection). Yu is also a member of the editorial board of the Journal of Contemporary Chinese Art. Author affiliation details are correct at time of print publication.

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

Bloomsbury Academic, 2014

Book chapter

4

... challenging existing social conventions and ethical relations. Keith B. Wagner’s chapter in this volume offers a fresh and in-depth analysis of the subversive nature of Xue’s practice, which he reads as part of small faction of ‘reckless...