Abstract This article examines the cultural politics of DV documentaries emerging from postsocialist China, discussing the documentary-makers as amateur-authors. It goes on to argue that the documentarians' self-consciously deployed aesthetics of cruelty constitutes a socio-political claim for an alternative ““real,”” derived from a subaltern ““structure of feeling.””
The Amateur's Lightning Rod: DV Documentary in Postsocialist China
Yiman Wang is currently a Mellon Postdoctoral Fellow and Visiting Assistant Professor at Haverford College. She has published on transnational Chinese cinemas, Asian-American cinema, and film remakes, and is currently working on a book about border-crossing film remakes.
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Yiman Wang; The Amateur's Lightning Rod: DV Documentary in Postsocialist China. Film Quarterly 1 June 2005; 58 (4): 16–26. doi: https://doi.org/10.1525/fq.2005.58.4.16
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