 Regional Filmmaking After Jia ZhangkeMei Yang SAGE Open, 2015, vol. 5, issue 3, 2158244015603104 Abstract: This article examines Ying Liang’s films to illustrate Chinese independent filmmakers’ growing propensity for representing regional space through innovative cinematic techniques. As one of the most conspicuous directors onstage in the 2000s, Ying Liang rekindles independent regional film following the legacy of Jia Zhangke’s hometown trilogy. Varying shooting angles and camera positions, his exemplar work of formalistic experimentation, The Other Half ( Ling yiban , 2006), presents space as a pivot of relations, within which the position of self and the situation of the local are intertwined. In line with Doreen Massey’s proposition for a spatial turn in theoretical conceptions, I argue that Ying Liang’s exploration of relational cinematic space, between on-screen and offscreen, from selfhood to nation, continues to challenge the legitimacy of the foretold metanarrative of national progression in which the countryside and inland cities belong to a bygone time that ought to be replaced in a forward-looking timeline. The explosive endings characteristic of Ying’s film oeuvre, in which all the imminent calamities happening to the region and its inhabitants eventually break out, belie the promise of a bright future told by the state and underline the symbolic violence endured by the local. Keywords: regional film; relational cinematic space; discourse; symbolic violence (search for similar items in EconPapers) Downloads: (external link) Related works: Export reference: BibTeX RIS (EndNote, ProCite, RefMan) HTML/Text Persistent link: https://EconPapers.repec.org/RePEc:sae:sagope:v:5:y:2015:i:3:p:2158244015603104 Access Statistics for this article More articles in SAGE Open |
Is your work missing from RePEc? Here is how to contribute.
Questions or problems? Check the EconPapers FAQ or send mail to .
EconPapers is hosted by the
School of Business at Örebro University.