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In 1990s post-Reform China, a growing number of people armed with video cameras poured out upon the Chinese landscape to both observe and contribute to the social changes then underway. Happening upon the crucial platform of an older independent film movement, this digital turn has given us a "DV China" that includes film and media communities across different social strata and disenfranchised groups, including ethnic and religious minorities and LGBTQ communities. DV-Made China takes stock of these phenomena by surveying the social and cultural landscape of grassroots and alternative cinema practices after the digital turn around the beginning of the new century.

The volume shows how Chinese independent, amateur, and activist filmmakers energize the tension between old and new media, performance and representation, fiction and non-fiction, art and politics, China and the world. Essays by scholars in cinema and media studies, anthropology, history, Asian and Tibetan studies bring innovative interdisciplinary methodologies to critically expand upon existing scholarship on contemporary Chinese independent documentary. Their inquiries then extend to narrative feature, activist video, animation, and other digital hybrids. At every turn, the book confronts digital ironies: On the one hand, its portability facilitates forms of radically private film production and audience habits of small-screen consumption. Yet it also simultaneously links up makers and consumers, curators and censors allowing for speedier circulation, more discussion, and quicker formations of public political and aesthetic discourses.

DV-Made China introduces new frameworks in a Chinese setting that range from aesthetics to ethical activism, from digital shooting and editing techniques to the politics of film circulation in festivals and online. Politics, the authors urge, travels along paths of aesthetic excitement, and aesthetic choices, conversely, always bear ethical consequences. The films, their makers, their audiences and their distributional pathways all harbor implications for social change that are closely intertwined with the fate of media culture in the new century of a world that both contains and is influenced by China.

Zhang Zhen is associate professor of cinema studies and history at New York University.

Angela Zito is associate professor of anthropology and religious studies at New York University where she codirects the Center for Religion and Media.

ACKNOWLEDGMENTS
| vii
Introduction | 1
Zhang Zhen and Angela Zito
PART ONE Ethical and Political Stakes | 27
1. Marking the Body: The Axiographics of the Visible Hidden Camera | 29
Abé Mark Nornes
2. The Cruelty of the Social: Xianchang, Intersubjectivity, and Interobjectivity | 57
J. P. Sniadecki
3. Filming Power and the Powerless: Zhao Liang’s Crime and Punishment (2007) and Petition (2009) | 76
Jie Li
4. The Spectacular Crowd: Representing the Masses in DV Documentary | 97
Shuang Shen
5. DV-made Tibet: Domestic Videos, Elite Films, and the Work of Pema Tseden | 119
Robert Barnett
6. Chinese Independent Cinema in the Age of “Digital Distribution” | 163
Dan Gao
PART TWO Aesthetic and Activist Experiments | 185
7. Chinese Digital Shadows: Hybrid Forms, Bodily Archives, and Transnational Visions | 187
Bérénice Reynaud
8. The Recalcitrance of Reality: Performances, Subjects, and Filmmakers in 24 City and Tape | 215
Qi Wang
9. Crossing Cameras in China: Christian Aesthetics and Realized Fictions | 237
Angela Zito
10. DV and the Animateur Cinema in China | 260
Paola Voci
11. “To Whom Do Our Bodies Belong?” Being Queer in Chinese DV Documentary | 289
Luke Robinson
12. Toward a Digital Political Mimesis: Aesthetic of Affect and Activist Video | 316
Zhang Zhen
Appendix I: Chinese and Non-Chinese Filmography/Videography | 347
Compiled by Ting-wu Cho
Appendix II: Tibetan Filmography/Videography | 365
Compiled by Robert Barnett
CONTRIBUTORS | 371
INDEX | 375
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