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Chinese documentary

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Journal Article
Camera Obscura (2016) 31 (1 (91)): 175–185.
Published: 01 May 2016
...Jinying Li This article examines the Folk Memory Project, a collective documentary initiative in China that organized young filmmakers to return to their home villages to interview elders and unearth silenced memories of the devastating Chinese Great Famine of 1959–61. Focusing on two films...
Journal Article
Camera Obscura (2019) 34 (3): 1–29.
Published: 01 December 2019
... spearheaded a subjective- documentary experimental film practice with her highly regarded feature debut, Drive to Win Shaou), a film about a Chinese women s national volleyball team player and coach who endures hardship and sacrifice to enable her team to win the world cham- pionship in the early post-Mao era...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 42–51.
Published: 01 September 1988
...Janet Bergstrom The Theater of Everyday Life: Ulrike Ottinger's China: The Arrs, Everyday Life Janet Bergstrom West Berlin has had a strong documentary filmmaking movement throughout the history of the New German Cinema, and women have played an important part in it by making...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
... • Camera Obscura lation, the video implicitly challenges the ethnographic underpin- ning of documentary by asserting that the video serves not to reveal Chinese sexuality to English speakers but to connect Mandarin- and Cantonese- speaking diasporic Chinese. In a sense, the use of video in Toc...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... ignores the active exchanges—sometimes explicit, sometimes subterranean—taking place among filmmakers and their films across Asia. The contributions to queer Asian cinema of women filmmakers, many of whom have had long careers in television and documentary and short-film production, have not been...
Journal Article
Camera Obscura (1999) 14 (3 (42)): 30–49.
Published: 01 September 1999
..., experimental use of image, color, sound, and editing-and in terms of its content-a love affair between two men." Unlike many contemporary Chinese films, Wong's work does not seem to be emotionally invested in the usual sites of nostalgia such as rural life or the remote areas of China...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 159–166.
Published: 01 January 1990
... as they intersect with the filmmakers’ personal histories. Goodstein’s documentary, Voices From the Attic (1988, USA), traces the director’s 1987 trip to an attic in a small town in Poland where her mother, aunts, uncles, and grandparents hid for two years under Nazi rule. Goodstein is joined...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 159–191.
Published: 01 December 2005
...Yiman Wang Camera Obscura 2005 Yiman Wang is currently an Andrew Mellon Postdoctoral Fellow and visiting assistant professor of East Asian studies and cultural studies at Haverford College. Her works have appeared in Chinese Films in Focus: Twenty-five New Takes (2003), the Quarterly...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 26–31.
Published: 01 September 1988
... Generation" of young Chinese directors. Assigned to Shanghai Film Studio, she had to wait until 1986 before she directed her first film, a children's movie called Me and My Classmates, which won a children's film prize in China. I interviewed her on September 14, 1987 at her hotel while she...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 134–141.
Published: 01 January 1989
... really doing something different. This year the Festival took risks. This year I saw something different: I saw a South Korean Resnais-like ghost story (Lee Chang-Ho’s The Man With Three Cofins),a Chinese Fifth Generation love story/fable (Zhang Yimou’s Red Sorghum), a Taiwanese tale...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 8–19.
Published: 01 September 1988
...Chris Berry China's New "Women's Cinema" Chris Berry "Women's cinema" ~1 '€l-J5 ) is a term that has come into common critical usage in the People's Republic of China over the last year or two. Certainly, Chinese commentators are aware of Western femi• nisms, and some have also...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 74–87.
Published: 01 December 1982
... for the whole day’s projection. I took it from silent cinema in order to show what it has become, and I stopped it at the point at which I myselfbegan to take part in what it has become. Here I wanted to talk about documentary and to look at it more closely . . . that is, at what has been...
Journal Article
Camera Obscura (1980) 2 (3 (6)): 122–152.
Published: 01 December 1980
... are concerned, in the early seventies the networks made money available on a fairly liberal basis for films and documentaries about “women’s issues.” Recently it has become in- creasingly difficult to receive such funding, as feminist filmmakers are more sophisticated...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 141–166.
Published: 01 September 2008
...- Excess/Erasure in Gay Chinese Melodramas  •  155 out documentary Yang ± Yin: Gender in Chinese Cinema (Nansheng nüxiang, Hong Kong, 1996).28 I see Lan Yu as a significant moment in his evolution as a gay filmmaker in that it marks a brave and vivid depiction of the trials of gay love...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 43–75.
Published: 01 September 2009
...Belinda Smaill British documentary filmmaker Kim Longinotto has been producing work for three decades. Her films have circulated widely and garnered significant critical acclaim. Despite her prominence in the industry, Longinotto's films have attracted surprisingly little scholarly attention. Her...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 57–89.
Published: 01 December 2005
... during the interwar era. For Zhang Zhen, the female presence in early Chinese cinema constitutes a vernacular idiom emerging alongside a literary movement that, taken together, “involved the emergence and perception of a new social body.”10 Zhang’s investment in the term vernacular is “propelled...
Journal Article
Camera Obscura (2001) 16 (3 (48)): 229–263.
Published: 01 December 2001
... (ed. Zhang Ying jin, 1999), and Spaces of Their Own (ed. Mayfair Yang, 1999). She is currently completing a book on early Chinese film culture and vernacular modernity. Xuan Jinglin in An Amorous History of the Silver Screen (Mingxing, 1931), directed by Zhang Shichuan. Courtesy China Film...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
... includes set design, costumes, and props but also a few highly ­­stereotyped Asian extras. Not a single mem- ber of the large main cast is Asian, although the show’s universe is purportedly half Chinese, and characters speak an English- ­­Chinese patois. A vid can also keep...
Journal Article
Camera Obscura (2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... as Asian or Asian American. 24 conflates East Asians, Asian Americans, and West Asian ethnic groups together by representing all three as users as well as subjects of digital imaging technologies. Camera Obscura 2009 The CCTV image capture of Howard Bern in the Chinese embassy, 24, episode 21, aired...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 193–231.
Published: 01 December 2005
...Weihong Bao Weihong Bao 2005 Weihong Bao is a PhD candidate pursuing a joint degree in East Asian languages and civilizations and cinema and media studies at the University of Chicago. She is writing a dissertation on aesthetic affect and political modernism in modern Chinese film...