Memory, Subjectivity and Independent Chinese Cinema

List of Figures Acknowledgements Introduction Understanding Postsocialism on a Personal Scale; Two Siblings or Generational Subjects of Chinese Postsocialism; The Forsaken Generation and Historical Consciousness; Material, Structure and Methodology Part I From the Past: Subjectivity, Memory and Narrative1 Toward the Figuration of a Postsocialist Subject; Subjectivity and Spatiality in Yangbanxi and 1980s Cinema; A Ship on a River: The Historical Space in Night Rain in Bashan; The Figure of a Forsaken Child; The Forsaken Generation: Take It Personally and Historically 2 For a Narration of One’s Own; Wilful Chance and Futile Subjects in To Live and Farewell, My Concubine; To Figure New Subjects: Independent Cinema and Personal Filmmaking; Self-narrative I: I Love XXX and a Radical Recollection of History; Self-narrative II: Fractured and Fragmented In the Heat of the Sun; The Delirium of a Fool: Narrative Excess and the Subject’s Alter Ego; Self-portraits of New Cinematic Subjects out of the Dirt of History Part II In the Present: Camera, Documentary and Performance3 Surface and Edge: The Cinema of Jia Zhangke and Lou Ye; Jia Zhangke: A Subjective Metanarrative Vision; Platform: Cinematic Space and Multivalent Subject Positions; Superficial Time: Writing on the Wall; Superficial Space: Debris, Wanderers and Vehicles; Lou Ye: Dwelling on the Edge of the Camera 4 Personal Documentary; Chinese Verité and Duan Jinchuan’s Invisible Gaze; Personal Documentary; I Graduated: Subject-ing the Past to the Present; West of the Tracks: Subject-ing the Present to History 5 Performing Bodies in Experimental and Digital Media; Nightingale, Not the Only Voice: A Performance of Inter-subjectivity; Shi Tou: Women, Bodies and Herself; Cui Zi’en: Embodying Realities and Performing Identities; Play with the Body of History: Experimental and Digital Media Conclusion: China’s Luckless but Hopeful Angels of History Notes Selected Filmography and Bibliography Index