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Zi'en Cui, Petrus Liu (2004)
Endangered Species Rule!positions: east asia cultures critique, 12
(2003)
Cui Zi'en, Pseudo-Science Fiction Stories (Wei kehuan gushi
Jin Liu (2013)
Chapter Seven The Rhetoric of Local Languages as the Marginal: Chinese Underground and Independent Films by Jia Zhangke and Others
(1994)
Ba kuo nan jie shiliu hao, 1995), and The Secret of My Success (Lingqi da shetou, 2002); Jia Zhangke’s Public Space (Gonggong kongjian
(2006)
Xin jilu yingxiang de li yu tong” (“The Power and Pain of New Documentaries”), Dushu
(2002)
Their World: A Study of the Gay Communities in China (Tamen de shijie: Zhongguo nan tongxinglian qunluo toushi) (Taiyuan: Shanxi renmin chubanshe, 1992)
Jin Liu (2008)
SIGNIFYING THE LOCAL: MEDIA PRODUCTIONS RENDERED IN LOCAL LANGUAGES IN MAINLAND CHINA SINCE 2000
Cui discusses his Catholic background in conjunction with his queer identity in Wang
(2003)
Documenting China: The Contemporary Documentary Movement in China (Jilu zhongguo: Dangdai zhongguo xin jilu yundong) (Beijing: SDX Joint Publishing
Qi Wang (2012)
Performing Documentation: Wu Wenguang and the Performative Turn of New Chinese Documentary
This article explores the visual representation of minority (especially queer) identities in the highly stylized and experimental documentaries of independent filmmakers Shi Tou and Cui Zi'en, two of the most prominent cultural figures in the Chinese queer community. My analysis focuses on Shi's documentary 50 Minutes of Women (2005) and Cui's semi-documentary Night Scene (2003) in conjunction with discussions of Shi's paintings and Cui's queer science fiction as well as his other video works such as The Narrow Path (2003) and Shi Tou and That Nana (2005). Through a close examination of the intimately embodied vision, haptic camera, reflexive performances, as well as subjectivized editing strategies manifest in their works, I demonstrate that Shi and Cui not only present alternative perspectives on identity issues from inside the queer communities but, more significantly, they practice a boldly performative and intimately engaged mode of documentary filmmaking and in the process challenge the very distinction between documentary and fiction, truth and opinion, self and other. Their embodied approaches not only demonstrate the potential of minority discourses to actively and critically engage social reality but also represent an important direction — that of increasing reflexivity — for the continued development of documentary filmmaking in China.
positions asia critique – Duke University Press
Published: Jul 1, 2013
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