yingying, zhenzhen and fenfen? china at the festivals dina iordanova 30 may 2013
TRANSCRIPT
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Yingying, Zhenzhen and Fenfen? China at the Festivals
Dina Iordanova30 May 2013
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Diversify the picture
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Soviet masterpieces emerging at the festivals
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See their films!
Bullish on the Chinese: Jim Rogers, the ‘investment biker’
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‘Firing back’ at Cannes?
I cannot accept that when it comes to Chinese films, the West seems for a long time to have had just the one 'political' reading: if it's not "against the government" then it's "for the government". The naïveté and lack of perspective [lit. "one-sidedness"] of using so simple a concept to judge a film is obvious. With respect to the works of directors from America, France and Italy for example, I doubt you have the same point of view.
Zhang Yimou’s letter to Cannes IFF, 1999
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Two types of film festivals
The CORRECTIVE festival
No industry or city interests represented
Activist, often preaching to the converted
Public, filmmakers (often clandestine)
Specialist media/soft news.
The BUSINESS CARD EXCHANGE festival
Political and industry interests.
‘Power, prestige, and glamour’.
Executives in ‘foreplay’.
Messages tailored for the mainstream media.
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The CORRECIVE film festival
No industry or city interests represented
Activist, often preaching to the converted
Public, filmmakers (often clandestine)
Specialist media/ soft news.
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In search of ‘truer representation’
‘In the end, the exhibition at the Palais offers up the kind of cinema that the authorities would like to see proliferate. […] China’s National Language Day might have been better served by showing a truer representation of the culture that China’s independent citizens are now producing about life as they are actually living it. In short, the kind of films that cultural renegades and outliers like Ai Weiwei and Wu Wenguang favor. In a perfect world, Ai Weiwei and Wu Wenguang would almost certainly be more convincing ambassadors for the true force of China’s contemporary culture than what we see on offer here. But we don't live in a perfect world. Instead, we find ourselves caught up in a world that is still a work in progress.’
William Dowell, ‘Chinese Film Festival at the Palais des Nations,’ The Essential Geneva, April 2013.
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Zhan 展 v. Jie 节
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De Pékin à Taipei, 1000 visages de la Chine,
Forum des Images, Paris, 9 January – 3 March 2013
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The BUSINESS CARD EXCHANGE festival
Political and industry interests.
‘Power, prestige, and glamour’.
Executives in ‘foreplay’.
Messages tailored for the mainstream media.
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China Image FF Shanghai IFF
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‘Playing to the World’s Biggest Audience’
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China Film Biz: Optimisic View
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China Film Biz: Revised Conservative Estimate
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‘I am against censorship, but this is an important market’
FENG Xiaogang, April 2013 2013
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The dogs are barking, yet the caravan goes on
Hollywood ‘collaborates’ with the censors
ZHANG Yuan, December 2012
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Why did I ever agree to give this talk?
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