Reading Docufiction: Jia Zhangke’s 24 City

Title:
Reading Docufiction: Jia Zhangke’s 24 City
Authors:
Deppman, Hsiu-Chuang
Abstract:
Jia Zhangke's 24 City (2008) combines the work of professional actors with interviews of actual Chinese state employees to create a blended genre that illustrates changing economic fortunes in the 21st century. Through the medium of a new, hybrid filmic language, Jia articulates his concerns about the limitations of postsocialist realism and documentary in narrating factory workers' emotional struggles with history and reality. The synthetic vision of docufiction, controversial and unsettling as it is, gives Jia the philosophical freedom to contrast, juxtapose, and integrate the real and the fictional in ways that defy and overwhelm conventional cinematic storytelling. Using narrative ellipsis, tableaux shots and intertextual references, Jia expands on the Deleuzean idea of ‘the power of the false’ to negotiate the roles of docufiction directors and complicate his own intellectual position as insider and outsider, artist and activist.
Citation:
Deppman, Hsiu-Chuang. November 2014. “Reading Docufiction: Jia Zhangke’s 24 City.” Journal of Chinese Cinemas 8(3): 188-208.
Publisher:
Routledge
DATE ISSUED:
2014-11
Department:
East Asian Studies; Comparative Literature
Type:
Article
PUBLISHED VERSION:
10.1080/17508061.2014.949156
PERMANENT LINK:
http://hdl.handle.net/11282/566914

Full metadata record

DC FieldValue Language
dc.contributor.authorDeppman, Hsiu-Chuangen
dc.date.accessioned2015-08-13T10:36:50Zen
dc.date.available2015-08-13T10:36:50Zen
dc.date.issued2014-11en
dc.identifier.citationDeppman, Hsiu-Chuang. November 2014. “Reading Docufiction: Jia Zhangke’s 24 City.” Journal of Chinese Cinemas 8(3): 188-208.en
dc.identifier.issn1750-8061en
dc.identifier.urihttp://hdl.handle.net/11282/566914en
dc.description.abstractJia Zhangke's 24 City (2008) combines the work of professional actors with interviews of actual Chinese state employees to create a blended genre that illustrates changing economic fortunes in the 21st century. Through the medium of a new, hybrid filmic language, Jia articulates his concerns about the limitations of postsocialist realism and documentary in narrating factory workers' emotional struggles with history and reality. The synthetic vision of docufiction, controversial and unsettling as it is, gives Jia the philosophical freedom to contrast, juxtapose, and integrate the real and the fictional in ways that defy and overwhelm conventional cinematic storytelling. Using narrative ellipsis, tableaux shots and intertextual references, Jia expands on the Deleuzean idea of ‘the power of the false’ to negotiate the roles of docufiction directors and complicate his own intellectual position as insider and outsider, artist and activist.en
dc.language.isoen_USen
dc.publisherRoutledgeen
dc.identifier.doi10.1080/17508061.2014.949156en
dc.subject.departmentEast Asian Studiesen
dc.subject.departmentComparative Literatureen_US
dc.titleReading Docufiction: Jia Zhangke’s 24 Cityen
dc.typeArticleen
dc.identifier.journalJournal of Chinese Cinemasen
dc.subject.keywordPower of the falseen_US
dc.subject.keywordTableaux vivantsen_US
dc.subject.keywordThe Sixth Generationen_US
dc.subject.keywordDocufictionen_US
dc.subject.keywordEllipsisen_US
dc.subject.keywordPostsocialist realismen_US
dc.identifier.volume8en
dc.identifier.issue3en
dc.identifier.startpage188en
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