Jump to ContentJump to Main Navigation
World Cinema and the Essay FilmTransnational Perspectives on a Global Practice$
Users without a subscription are not able to see the full content.

Brenda Hollweg and Igor Krstic

Print publication date: 2019

Print ISBN-13: 9781474429245

Published to Edinburgh Scholarship Online: January 2020

DOI: 10.3366/edinburgh/9781474429245.001.0001

Show Summary Details
Page of

PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 25 September 2021

‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth

‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth

(p.172) 10. ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth
World Cinema and the Essay Film

Kiki Tianqi Yu

Edinburgh University Press

This chapter explores ‘image writing’, an independent nonfiction film practice of experimenting with and ‘writing’ through moving images as an artistic expression and cultural intervention in contemporary mainland China. As a concept similar to caméra-stylo that was advocated by Alexandre Astruc in his influential article ‘The Future of Cinema’ (1948), its motivation and aesthetic features are culturally and socially rooted in Chinese reality. The aesthetic form associated with yingxiang xiezuo can be understood as ‘essayistic’ in the sense that it is influenced by a Chinese literary essay tradition, Chinese language expression and socio-political conditions in China. Kiki Tianqi Yu argues that current criticism and theorisation around the essay film is largely rooted in western film studies; and that features of the essayistic or the ‘screen-writing’ process in cultures with different literary traditions, socio-political contexts and linguistic structures, such as those in China, require different methods of interrogation. The chapter includes a close reading of Chinese Zhao Liang’sBehemoth (2015), foremost his use of parallelism and juxtaposition.

Keywords:   Image-writing, Caméra-stylo, Alexandre Astruc, China, Zhao Liang, Behemoth, Parallelism, Juxtaposition, Non-western film studies

Edinburgh Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.