Moving Pictures Moving Pictures
- Most Read
Thankfully, Theoretical Physics Allows for Universe Where Zayn is Still in One Directionby Doug Patterson
Werner Herzog Motivational Posters are the Best Thing on the Internetby Laura Feinstein
We Need to Stop Saying "Babies Ruin Bodies"by Ntima Preusser
Experience Five Hundred (Virtual) Years Of New York City History In A Single Elevator Rideby Rafi Schwartz
16 Images That Perfectly Capture How Completely Nuts Modern Life Has Becomeby Adam Albright-Hanna
Apparently No One Noticed What This Woman Was Staring at When They Chose Her for Their Labelby Laura Feinstein
Learning How to Read Needs to Be More Hands-On. No, Really.by Antonia Malchik Presented by Project Literacy
An Artist Imagines How the Future of Overdevelopement Will Appearby Craig Carilli
Here’s How To Get Thrown Out of a Kindergarten Concertby Gabriel Reilich
by Jia Zhang Ke
Jia (in red) on location filmingBefore I made my first film, Pickpocket, I originally intended to shoot a love story-I even received funding for it-but then I returned to my hometown of Fenyang, where I suddenly discovered that its 3,000-year-old main street was about to be torn down. Such massive, sudden change made me feel that I had to be just as quick to shoot the things that were disappearing. So I came up with a new scenario and made a different movie, and this approach has continued to guide me. My last feature, Still Life, came about because I visited the Three Gorges dam intending to shoot a documentary about a painter who was working there, but once I saw the overwhelmingly surreal quality of that landscape in transition, I knew it also needed to be captured. The buildings looked like ruins. It was as if aliens had come, or as if there had been a war. So it was the space that first grabbed me, and it brought me to the people and their lives, and then to a story. It wasn't my intention to film something about Three Gorges-it was something that evolved.In China, film is the artistic medium that the government cares most about, and the old censorship system is still largely in place. Lenin said that of all the arts, film was the most important to the proletariat, and I think he was right, because at a basic level, it transcends written language. An illiterate man with no way of reading novels or newspapers can appreciate film. Because the Communist Party has always relied on mass media to broadcast its policies, it thus has to pay attention to what films are saying. And so, even today, although there have been great changes and a great loosening, the system maintains control: All movies have to be approved in Beijing, first at the script stage, and then once the film is finished.When I started making films, in 1997, there were stirrings of a new movement. After the crackdown at Tiananmen Square, intellectuals had begun to leave the state system. Writers emerged who weren't part of the national writers union, and independent movies by Zhang Yuan and Wang Xiaoshuai began to appear. When I started at the Beijing Film Academy, in 1993, it was natural for me as a young person to favor these, and to dislike movies coming out of the official system, or, even more, to want some distance from that system. Behind all of this was another reality: The economy was beginning to take off, and friends were starting businesses and making money. So there were funds available-not a lot, but enough-to make films. It was no longer like before, when the state system was the only game in town.So, when I made Pickpocket, I gave no thought to the censors. We just wanted to make the film the way we wanted. In 1998 it showed at the Berlin film festival, and then in 1999 I was banned from making films. This ban had no expiration date, and it meant that I was on a blacklist at all the postproduction companies in Beijing and Shanghai, saying that I couldn't borrow equipment or develop film.
|Digital technology and the growth of the internet have permanently curtailed the government's control both over filmmakers' ideology, and over the apparatus of production and distribution.|
The Films Of Jia Zhang KePICKPOCKET (1997)As former associates reinvent themselves as "entrepreneurs" in the new China, a petty provincial thief fails to change with the changing times.
PLATFORM(2000)The economic and cultural reforms of the 1980s as reflected in the changing fortunes of a traveling performance troupe: starting the decade as the state-sponsored Peasant Culture Group of Fenyang, it privatizes to become the All-Star Rock 'n' Breakdance Electronic Band.
UNKNOWN PLEASURES (2002)A pair of unemployed teenagers drift through the disorienting new capitalist landscape of Datong, their days a seeming haze of karaoke, video games, and pirated DVDs.THE WORLD (2004)Workers in a Disneyesque theme park outside of Beijing embody the collision of globalization and provincialism in comic and heartbreakingly sad ways.STILL LIFE (2006)A man and a woman come to Fengjie, a town destroyed in the construction of the Three Gorges Dam, each in search of a spouse they haven't seen in years, both dwarfed by the massive demolition in process all around them. DONG (2006)A documentary about the figurative painter Liu Xiaodong; filming him make portraits of workers at Three Gorges inspired Jia to make Still Life.USELESS (2007)A documentary about the fashion designer Ma Ke, whose high-end designs are inspired by peasant workers, examines the underpinnings of modern consumption.
And Eight other Films about Contemporary ChinaON THE BEAT (1995) Directed by Ning YingA funny, quietly observant film about Beijing policemen captures the city just at the point when Westernization is starting to creep in.THE GATE OF HEAVENLY PEACE (1996) Directed by Geremie Barmé, David Carnochan, Richard Gordon, Gail Hershatter, Carma HintonA devastating and definitive documentary account of the 1989 demonstrations at Tiananmen Square.SOUZHOU RIVER (2000) Directed by Lou YeAn ultra-stylish romantic thriller, set in the seedy bars and back alleys of Shanghai.BLIND SHAFT(2003) Directed by Li YangThe noirish tale of a pair of murderous coal miners that also serves as an indictment of working conditions in impoverished rural regions.A WORLD WITHOUT THIEVES (2004) Directed by Feng XiaogangFeng is often likened to Steven Spielberg for his slick sentimentality; his best films, such as this story of rival con artists on a cross-country train, are deft and surprising.MOUNTAIN PATROL: KEKEXILI (2004) Directed by Lu ChuanIn China's northeastern mountains, a group of hard-boiled Tibetans band together to keep their endangered antelope population safe from poachers.CRAZY STONE (2006) Directed by Ning HaoIt's a zany free-for-all as an assortment of schemers and thieves attempt to get their hands on a piece of jade that may prove valuable enough to thwart the shuttering of an old-line factory.LOST IN BEIJING (2007) Directed by Li YuThe owner of a Beijing massage palace clashes with a masseuse and her husband in a film that explores class conflict and the corrosive effect of money on modern values.CHINA BLUE (2007) Directed by Mischa X. PeledShot secretly in a Guangdong factory that manufactures blue jeans for Western companies, this documentary follows a handful of young, underpaid Chinese laborers.
Ex-Cops Get Baked in Support of Marijuana Legalization Requesting an APB on all the snacks. I repeat, all the snacks. Don’t knock it ‘til you try it.
Culture Doug Patterson
Hey, Neighbor. Thanks for the Good Times. This was Neighborday 2015. #letsneighbor
These Anti-Gentrification Postcards Show London in a Different Light Gram Hilleard’s Developers Up Yours mourns the loss of historic London to overdevelopment.
Design Tasbeeh Herwees
How You Can Lend Your Support to Nepal You don’t need money to help out.
Business David Rhee
An Interview with Carrie Brownstein and Fred Armisen The stars of Portlandia on doing small things that matter
Lifestyle Sara Marcus
The Week in Design A special Monday edition of everything good in art and design.
Design Araceli Cruz