Since the early 1990s, as mainland China's state-owned movie studios have struggled with financial and ideological constraints, an exciting alternative cinema has developed. Dubbed the "Urban Generation," this new cinema is driven by young filmmakers who emerged in the shadow of the events at Tiananmen Square in 1989. What unites diverse directors under the "Urban Generation" rubric is their creative engagement with the wrenching economic and social transformations underway in China. "Urban Generation" filmmakers are vanguard interpreters of the confusion and anxiety triggered by the massive urbanization of contemporary China. This collection brings together some of the most recent original research on this emerging cinema and its relationship to Chinese society. Scholars analyze the historical and social conditions that gave rise to the Urban Generation, its aesthetic uniqueness, and its ambivalent relationship to China's mainstream film industry and the international film market. The contributors focus attention on the Urban Generation cinema's sense of social urgency, its documentary impulses, and its representations of gender and sexuality. They highlight the characters who populate this new urban cinemaoordinary and marginalized city dwellers including aimless bohemians, petty thieves, prostitutes, police officers, postal workers, taxi drivers, migrant workersoand the fact that these 'floating urban subjects' are often portrayed by non-professional actors. Some contributors concentrate on specific films or filmmakers; others survey broader concerns. Together the twelve essays in this collection give a multifaceted account of a significant, ongoing cinematic and cultural phenomenon.
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研究urban generation的參考書
评分書可以看,但現在對動不動就來兩句德勒茲“時間-影像”“無器官身體”的文章十分抵觸,感到惡心。這跟套精神分析理論來分析電影沒什麼區彆,連畢誌飛都會,把Film Studies變成一門寄生蟲學科。
评分What can we add to this discussion now?
评分九十年代中國電影研究的觀點之一,有參考價值,對比閱讀書中作者現在和過去的文章,有收獲。
评分研究urban generation的參考書
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