Offers a new interpretation of how both 'cinema' and 'generation' are terms that have been redefined by iGeneration filmmakers, films, and audiences.
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Matthew D. Johnson is Assistant Professor of East Asian History at Grinnell College, US. As a doctoral student he conducted one of the first oral histories of China's early socialist film industry, and is currently working on a book-length project titled The Most Important Art: Motion Pictures as Political Communication in Maoist China. He has written on mass media, documentary cinema, and U.S.-China transnational relations, and is a member of the editorial board of the Journal of Chinese Cinemas.
Keith B. Wagner is an Assistant Professor of Film Studies at Hongik University in Seoul, South Korea. He holds an M.Phil degree from the University of Cambridge and previously taught at London South Bank University and the University of Rhode Island. He is the co-editor (with Jyotsna Kapur) of Neoliberalism and Global Cinema: Capital, Culture and Marxist Critique (2011) and is now co-editing a special edition journal on Hollywood and the Financial Crisis.
Kiki Tianqi Yu is a filmmaker and Lecturer in Film at the University of the West of Scotland, UK. She publishes on first person documentary, Chinese documentary, camera activism, amateur cinema culture, and cinematic memory in Studies in Documentary Film, Journal of Chinese Cinemas, and Journal of Contemporary Chinese Art, among others. Yu is the author of 'My' Self On Camera: First Person Documentary Practice in 21st century China (2018). As a filmmaker, her film works include Photographing Shenzhen (2007), Memory of Home (2009) and the recent feature length documentary film China's van Gogh (2016).
Luke Vulpiani is a PhD candidate at King's College London under the supervision of Professor Richard Dyer.
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Paperback. Etat : new. Paperback. This book is open access and available on It is funded by Knowledge Unlatched.This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-memoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9781501315749
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