{"457101":{"#nid":"457101","#data":{"type":"news","title":"Qi Wang publishes on Memory, Subjectivity, and Independent Chinese Cinema","body":"","field_subtitle":"","field_summary":[{"value":"\u003Cp dir=\u0022ltr\u0022\u003ENot so long ago, IAC and GT awarded tenure and promotion to Qi Wang, based in part on her (then forthcoming) monograph on \u003Cem\u003EMemory, Subjectivity, and Independent Chinese Cinema\u003C\/em\u003E. Here is the first review of her book, published by Ohio State\u0027s \u003Cem\u003EModern Chinese Literature and Culture\u003C\/em\u003E journal. \u003C\/p\u003E\u003Cp\u003E\u003Cbr \/\u003E\u003C\/p\u003E\u003Cp dir=\u0022ltr\u0022\u003EA section from the review: \u0026nbsp;\u003C\/p\u003E\u003Cp\u003E\u003Cbr \/\u003E\u003C\/p\u003E\u003Cp dir=\u0022ltr\u0022\u003E\u0022[Qi Wang\u0027s] Memory, Subjectivity, and Independent Chinese Cinema is rich and complex. To be fully appreciated, I suspect its formal analytical focus requires a degree of familiarity with the cinematic works discussed. Furthermore, Wang\u2019s explicit emphasis on questions of subjectivity and style over material context\u2014whether that be production, exhibition, or reception\u2014may frustrate those for whom Zhang Yimou, Meng Jinghui, and Shi Tou are less points on a continuum than practitioners working in quite distinct spheres. But this approach has two distinct advantages. First, it allows for suggestive connections to be made between films across almost three decades and between media forms, forcing us to reflect on what a genealogy of a contemporary Chinese \u201cI\u201d might look like before and beyond the digital camera. The Forsaken Generation in turn provides a staging post, a way of tracing a more subtle transition in subjectivity than the rather brutal shift often assumed between the post-1980s child and his or her predecessors. Second, the insistence on bringing fiction and non-fiction together within a single study is unusual in Chinese screen studies. Such an approach enables discussion across a generic boundary that increasingly bedevils the field, demonstrating why feature film, documentary, and video work need to be considered in dialogue with one another and with other forms of experimental cultural production. For this reason alone Wang\u2019s book is worth reading.\u0022\u003C\/p\u003E\u003Cp\u003E\u003Cbr \/\u003E\u003Ca href=\u0022http:\/\/u.osu.edu\/mclc\/2015\/10\/07\/memory-subjectivity-and-independent-chinese-cinema-review\/\u0022 target=\u0022_blank\u0022\u003ERead the full review.\u003C\/a\u003E\u003C\/p\u003E","format":"limited_html"}],"field_summary_sentence":[{"value":"Professor Qi Wang publishes book on Chinese Cinema"}],"uid":"28518","created_gmt":"2015-10-08 11:23:14","changed_gmt":"2016-10-08 03:19:40","author":"Jessica Anderson","boilerplate_text":"","field_publication":"","field_article_url":"","dateline":{"date":"2015-10-08T00:00:00-04:00","iso_date":"2015-10-08T00:00:00-04:00","tz":"America\/New_York"},"extras":[],"hg_media":{"457111":{"id":"457111","type":"image","title":"Qi Wang","body":null,"created":"1449256334","gmt_created":"2015-12-04 19:12:14","changed":"1475895202","gmt_changed":"2016-10-08 02:53:22","alt":"Qi Wang","file":{"fid":"203501","name":"qiwangweb.jpg","image_path":"\/sites\/default\/files\/images\/qiwangweb_0.jpg","image_full_path":"http:\/\/www.tlwarc.hg.gatech.edu\/\/sites\/default\/files\/images\/qiwangweb_0.jpg","mime":"image\/jpeg","size":47217,"path_740":"http:\/\/www.tlwarc.hg.gatech.edu\/sites\/default\/files\/styles\/740xx_scale\/public\/images\/qiwangweb_0.jpg?itok=M1GDsVU2"}}},"media_ids":["457111"],"groups":[{"id":"1283","name":"School of Literature, Media, and Communication"}],"categories":[],"keywords":[],"core_research_areas":[],"news_room_topics":[],"event_categories":[],"invited_audience":[],"affiliations":[],"classification":[],"areas_of_expertise":[],"news_and_recent_appearances":[],"phone":[],"contact":[],"email":[],"slides":[],"orientation":[],"userdata":""}}}