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First person documentary, The pursuit of Subjectivity, Subjectivity in…
First person documentary
The pursuit of Subjectivity
Subjectivity in Documentaries
Subjectivity
Define subjectivity
Three prolific discourse of subjectivity
Postmodern discourse
Mutual recongnition
Power discourse
Subjectivity in documentary
Subjectivity in relation to objectivity
1920s
Nanook of the North
1960s
Direct cinema
1980s-1990s
First person documentary
Definition
Subjectivity in documentary studies
Mutual recongnition
Power discourse
Postmodern discourse
Subjectivity and the new documentary film movement
Subjectivity and documentary
Subjectivity vs. Objectivity: reflected through the history of documentary
The myth of objectivity
Early Independent documentary
E.g Wu Wenguang
Text analysis: Observational film language
Yamagata film festival: The influence of Fredrick wiseman, and direct cinema
Historical perspective: As a reaction to the socialist past, and attempts to present the raw reality
The scientific objectivity that conveyed by Jishizhuyi could be understood as a reaction to the socialist cinema.
Socialist documentary
As part of the Ideology state apparatus
Authoritarian Voiceover
Socialist Ideology
suppressed subjectivity and the address on objectivity imply a sense of scientific.
The sense of scientific further supports the authority of the documentary, as well as the knowledge, discourse or even ideology that it conveys
as tool of modernization (socialism?)
Considered as scientific
Educational
The shifting address of Subjectivity
First person documentary after 2000s
DV camera
self-exposure culture
The address of subjectivity
Postmodern discourse
Postsocialist China
The relationship between filmmaker and the subject of film
Early independent documentaries: A more complicated relationship
Participational documentary
The developing reflection and address on the filmmaking process
Could be understood as part of the journey of learning the society from the bottom up
Wu Wenguang's ethnographical methodology for shooting documentaries
People are still object
In the observational documentaries, people are a part of the raw reality as the material for filmmaker, who are often intellectuals, to make a obscure comment on the society
e.g Duan Jinchuan and Number 16 Barkhor South Street
Socialist Cinema: Typical
Ordinary people are rendered into "typical" that bears the mission of delivering certain ideology
How and what are people represented on screen
First person documentary
The rising subjectivity as democratic, enlightened citizens, reflected through the development of Chinese independent documentary
The new documentary film movement as a successor of the 85 new wave
The emerging subjectivity reflected by Mangliu artists as both the subject of the documentary and the identity of the filmmakers
Against the state apparatus
The connection between 85 new wave and The history of englightment in China
Early new documentary film movement as a post-1989 reaction
As alternative culture
Oppose to the socialist legacy, but still tends to form a grand narrative
Only Relatively independent from the state system
First person documentary as a reflection of the early new documentary film movement
As a reflection to the early independent documentaries
The different approach toward contigency
Refuse grand narrative of either the public documentary nor the documentaries from the socialist era
Film festival's roles in the production and reproduction of first person documentary
Avoid the interaction with the state system
e.g. distribution
Short film
The accessibility, affordability of DV
Allowance to be independent from the state system
However....
Social subjectivity
Hara Kazuo's case
Independent cinema in the 90s
Public documentary
Alternative culture
First person expression
First person documentary in 2000s
Private documentary
Subjectivity
socio-historical background
independent cinema in the 80s