Beteiligte: | |
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In: | Asian Cinema, 17, 2006, 1, S. 246-255 |
veröffentlicht: |
Intellect
|
Medientyp: | Artikel, E-Artikel |
Umfang: | 246-255 |
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ISSN: |
1059-440X
2049-6710 |
DOI: | 10.1386/ac.17.1.246_1 |
veröffentlicht in: | Asian Cinema |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | Intellect (CrossRef) |
<jats:p>Independent documentary filmmaking in contemporary China started a few sparkles after 1989, with works like Wu Wenguang’s Bumming in Beijing: The Last Dreamers (1990) and Wang Guangli’s I Graduated (1992). Followed by more developed works from Zhang Yuan, Duan Jinchuan, Jiang Yue, and Kang Jianning, China began to see perhaps its first independent documentary group: the New Documentary Movement. Later, with the advent of the DV technology in the mid-1990s, the freedom of one-man’s-film-studio became easily realizable; China further witnessed a spate of independent documentaries pouring forth, with a greater variety in subject matter and style, and a greater variety of faces, lives, spaces, and voices along with them.</jats:p> |