This book explores the history of, and approaches to, documentary production within China from the Land Reform to the present day. It examines the institutionalisation of socialist realism during the PRC's revolutionary era; considers the emergence of the fluid xianchang aesthetics and the creation of contingent subjectivities in relation to physicist Carlo Rovelli's loop quantum gravity theory; explores two factory films through the angle of temporality; argues that time in the post-X era is multi-layered and can be experimented through a cinematic ruin aesthetics; and theorises ecological temporality in relation to Jean-Paul Sartre's ontology on being as freedom and Caroline Godart's analysis of difference.

Explores the history of and approaches to documentary production within China Addresses established and emerging areas of documentary theory Examines the particularity of Chinese documentary and its transformations and techniques

Autorentext

Muyun Liu, PhD, is admitted to the Supreme Court of Victoria, Australia. She is a lawyer based in Melbourne, and received her PhD from the University of Melbourne in 2018.

Inhalt
Chapter 1: Introduction,- Chapter 2: The linear temporality of socialist realist film The Great Land Reform.- Chapter 3: The xianchang aesthetics and entropic rhythms in Doctor Ma's Country Clinic and Lost in Home.- Chapter 4: The cinematic simulacra of a hyperreal capital time in the documentary films China Blue and China's Van Goghs.- Chapter 5: Digital ruin gazing in Wang Jiuliang's Beijing Besieged by Waste and ruinic traces in Zhao Liang's Behemoth.- Chapter 6: Ecological ontology and creative gleaning in Yak Dung, the Aoluguya trilogy, Huamulin Village Oh Little Qiang and The Gleaners and I.