國立虎尾科技大學 |

The Gaze of "Chaos" : = Temporal-spatial Migration and Power Dynamics in a Globalizing Post-socialist China.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	The Gaze of "Chaos" :/
Reminder of title:	Temporal-spatial Migration and Power Dynamics in a Globalizing Post-socialist China.
Author:	Zhang, Wenxian.
Description:	1 online resource (65 pages)
Notes:	Source: Masters Abstracts International, Volume: 81-12.
Contained By:	Masters Abstracts International81-12.
Subject:	Asian studies. -
Online resource:	click for full text (PQDT)
ISBN:	9798645480264

The Gaze of "Chaos" : = Temporal-spatial Migration and Power Dynamics in a Globalizing Post-socialist China.
Zhang, Wenxian.

The Gaze of "Chaos" :Temporal-spatial Migration and Power Dynamics in a Globalizing Post-socialist China. - 1 online resource (65 pages)

Source: Masters Abstracts International, Volume: 81-12.

Thesis (M.A.)--Duke University, 2020.

Includes bibliographical references

The thesis approaches the positionality of visuality within third-world cinema by examining the case of transnational documentary filmmaking. In past decades, China's post-socialist transformation has altered not only its local conditions but also transcended the national and cultural borders. Such shift can be significantly captured by the perspective of Chinese documentary since the 1990s. Produced outside of the state-owned studios and exhibited on international film festivals and online platforms, Chinese documentary is a transnational cinematic production from the very beginning. Current research illustrates its positionality of "minor cinema" as resistance to China's mainstream cinema, but this binary term oversimplifies the uneven tensions of the state power, transnational forces, and the shifting aesthetic paradigms that constitute the spectrum of documentary in a globalizing post-socialist China.This research undertakes a critical reading of Zhou Hao's documentary practice. Unlike many of his counterparts' "on-the-spot" realism, Zhou proposes the conception of "hundun"(混沌), literally meaning chaos and disorder, to represent the ambiguous reality of China in his transnational documentary. As hundun replaces the "real" as the aesthetic paradigm of filmmaking, one might further ask about how the conception of hundun appeared and functioned in Zhou's film, its political and historical implications in both domestic and transnational contexts, as well as its potential of theoretical and practical intervention.Through discussing Zhou's three representative works Houjie Township(2002), The Cop Shop(2010), and The Chinese Mayor(2015) , I will argue that Zhou's documentary practice opens up a space of hundun in terms of ambiguity, heterogeneity, and dynamism, where the dialectics between migration in a temporal sense and power dynamics in a spatial sense reflect both the local circumstance and China's post-socialist transformation as a whole. Furthermore, regarding the exhibition, distribution, and circulation of documentary as a connective and global media, the representation of hundun prompts us to reflect on Felix Guattari's conception of "Chaosmosis", which is "at the junction of the finite and infinite, at this point of negotiation between complexity and chaos." By engaging theories of visuality, cultural anthropology, and migration studies, I will further ask about how the gaze of chaos(hundun) within visuality is productive in challenging the totalizing understandings of China, thus envisioning an alternative approach to reframing locality within globally mediated networks and power order.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798645480264Subjects--Topical Terms:

1179577
Asian studies.
Subjects--Index Terms:

DocumentaryIndex Terms--Genre/Form:

554714
Electronic books.

The Gaze of "Chaos" : = Temporal-spatial Migration and Power Dynamics in a Globalizing Post-socialist China.
LDR:03964ntm a22003737 4500 001 1150760
005 20241029122308.5
006 m o d
007 cr bn ---uuuuu
008 250605s2020 xx obm 000 0 eng d
020 $a 9798645480264
035 $a (MiAaPQ)AAI27744115
035 $a AAI27744115
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Zhang, Wenxian. $3 1204453
245 1 4 $a The Gaze of "Chaos" : $b Temporal-spatial Migration and Power Dynamics in a Globalizing Post-socialist China.
264 0 $c 2020
300 $a 1 online resource (65 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Masters Abstracts International, Volume: 81-12.
500 $a Advisor: Rojas, Carlos.
502 $a Thesis (M.A.)--Duke University, 2020.
504 $a Includes bibliographical references
520 $a The thesis approaches the positionality of visuality within third-world cinema by examining the case of transnational documentary filmmaking. In past decades, China's post-socialist transformation has altered not only its local conditions but also transcended the national and cultural borders. Such shift can be significantly captured by the perspective of Chinese documentary since the 1990s. Produced outside of the state-owned studios and exhibited on international film festivals and online platforms, Chinese documentary is a transnational cinematic production from the very beginning. Current research illustrates its positionality of "minor cinema" as resistance to China's mainstream cinema, but this binary term oversimplifies the uneven tensions of the state power, transnational forces, and the shifting aesthetic paradigms that constitute the spectrum of documentary in a globalizing post-socialist China.This research undertakes a critical reading of Zhou Hao's documentary practice. Unlike many of his counterparts' "on-the-spot" realism, Zhou proposes the conception of "hundun"(混沌), literally meaning chaos and disorder, to represent the ambiguous reality of China in his transnational documentary. As hundun replaces the "real" as the aesthetic paradigm of filmmaking, one might further ask about how the conception of hundun appeared and functioned in Zhou's film, its political and historical implications in both domestic and transnational contexts, as well as its potential of theoretical and practical intervention.Through discussing Zhou's three representative works Houjie Township(2002), The Cop Shop(2010), and The Chinese Mayor(2015) , I will argue that Zhou's documentary practice opens up a space of hundun in terms of ambiguity, heterogeneity, and dynamism, where the dialectics between migration in a temporal sense and power dynamics in a spatial sense reflect both the local circumstance and China's post-socialist transformation as a whole. Furthermore, regarding the exhibition, distribution, and circulation of documentary as a connective and global media, the representation of hundun prompts us to reflect on Felix Guattari's conception of "Chaosmosis", which is "at the junction of the finite and infinite, at this point of negotiation between complexity and chaos." By engaging theories of visuality, cultural anthropology, and migration studies, I will further ask about how the gaze of chaos(hundun) within visuality is productive in challenging the totalizing understandings of China, thus envisioning an alternative approach to reframing locality within globally mediated networks and power order.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Asian studies. $3 1179577
653 $a Documentary
653 $a Migration
653 $a Post-socialist China
653 $a Social transformation
653 $a Visuality
655 7 $a Electronic books. $2 local $3 554714
690 $a 0342
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Duke University. $b Humanities. $3 1477330
773 0 $t Masters Abstracts International $g 81-12.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27744115 $z click for full text (PQDT)