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Cinema, Space, and Polylocality in a Globalizing China$
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Yingjin Zhang

Print publication date: 2009

Print ISBN-13: 9780824833374

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824833374.001.0001

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Space of Production

Space of Production

Postsocialist Filmmaking

(p.42) Chapter 3 Space of Production
Cinema, Space, and Polylocality in a Globalizing China

Yingjin Zhang

University of Hawai'i Press

This chapter examines both the space of production and the production of space in Chinese cinema during the postsocialist period. It draws on Dai Jinhua's guangchang (square) to consider the changing power-geometries in 1990s China, as well as Henri Lefebvre's differentiation of isotopias, utopias, and heterotopias and Michel Foucault's meditation on other spaces to illustrate the coexistence and interpenetration of underground, independent, semi-independent, and official modes of filmmaking. The chapter first presents a diagram on modes of interactions among contending players of politics, capital, art, and marginality. It then traces the early trajectories of Wang Xiaoshuai and Zhang Yuan and emphasizes the importance of marginality in cultivating an alternative public sphere. It also looks at the emergence of the sixth generation by focusing on the 1994 film Dirt, along with the subcultural margins of rock music in the early 1990s. The chapter concludes by assessing changes in Chinese urban cinema from the late 1990s to the early 2000s.

Keywords:   cinema production, Chinese cinema, filmmaking, marginality, Wang Xiaoshuai, Zhang Yuan, Dirt, rock music, urban cinema

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