In the past twenty years, China has witnessed the flowering of an independent documentary cinema characterized by a particular vérité aesthetic. Independent Chinese Documentary traces the roots of this style back to the 1980s, and the gradual abandonment of studio-based filmmaking, dominant during the Maoist era, for shooting live and on location. Known in Chinese as xianchang – or being on "the scene" – this documentary practice is partly distinguished by its embrace of the contingent. Through a series of synoptic case studies, this book considers the different ways in which contingency manifests in independent Chinese documentary; the practical and aesthetic challenges its mediation presents for individual film directors; and the reasons for the quality's significance, set against the backdrop of China's ongoing postsocialist transition, and the consequences of this process for the very act of documentary representation itself.
來源: Google Book