Chinese Documentaries, Essay Example

A New Era of Chinese Film Documentaries

China’s rich history is filled with cultural expression such as philosophy and the arts. The nation has also been known for great inventions used across the world such as paper, gunpowder and silk.One thing for which China has not been known however, is free speech.This has impacted the citizens of China in many ways including limiting the information to which they have access through censorship of media and film.This censorship dates back to the time when books were first mass produced in the 9^th century.Emperors imposed a strict policy of censorship of written material which spread to other types of information technology as it was invented.

The Chinese government has censored all areas of broadcast media since mass media’s inception.This was a product of the country’s history.While different regimes did not agree, their leaders had one thing in common.This commonality was the desire to maintain absolute control over the citizens to the extent certain regimes killed numerous Chinese citizens who they believed engaged in antigovernment practices as well as thoughts and beliefs.Fearing the loss of power, Chinese rulers used informants and aids as their source of crucial information.Never certain of true or complete was the knowledge others provided to them led these government leaders to take drastic measure in order to maintain control of the information to which the people had access.A period of republican reform allowing more intellectual and political freedom was enjoyed at the beginning of the 20^th Century including the establishment of free newspapers in most communities.This freedom was short lived however, and by 1919 there was a return to strong censorship of broadcast media limiting all types of free expression.¹

The government in China, always fearful of being overthrown given its long history of rebellion and upheaval, has largely restricted the independence of the media.Strict control has been ensured through constant monitoring while shutting down websites and publications, and jailing journalists, filmmakers and others labeled media dissidents or subversives. China’s government has allowed more citizen independence through the allowing participation in the global market and allowing citizens to own private property, investments and businesses for the first time since before 1978.However, despite the huge numbers of mass media outlets and growing interest of filmmakers and producers in presenting the true reality of China through documentary films, independent film makers still face loss of credentials allowing them to make films in the country as well as expulsion and loss of citizenship.²

A prime example of a well-known filmmaker who lost his credentials meaning that he was forbidden from making any films in China, is Jia Zhangke.Until recently, Zhangke could not produce a film in China.Fortunately, his films were held in high acclaim, winning awards in winning prizes at Berlin, Venice, Vancouver, and Pusan and gaining a following in the U.S.He did this without the recognition of his home country.Dubbed an underground producer, some in China and other countries who keep up to date on China’s policy on film making, believe that this is a misnomer since it creates an association with the U.S. cultural atmosphere in the 1950’s.Yet the term seem to be an appropriate title for some documentary directors and producers in China today.

In order for your work to be cleared by the Chinese government to be produced andviewed in China, several steps must be followed. First, they must purchase a quota number from a studio owned and operated by the government, though no formal contractual agreement toproduce or shoot the film is required. Second, a synopsis of the film must be submitted to the government for approval before filming can begin.Finally, the completed film must also be submitted to government censors for approval.Those who do not follow all of these steps and gain censor approval of their film, cannot legally produce or show their film anywhere in China nor can they submit the film to any international festivals.Filmmakers who fail to seek government approval will have their film banned and lose their credentials meaning they are forbidden from making any more films in China until otherwise notified. ³

However, documentary films banned in China, often receive popular and critical acclaim in other countries including the U.S.The irony is that the Chinese government now realizes that the best way to minimize the reaction to documentary films presenting a controversial view of China is to grant them legitimacy within the country instead of making their production as controversial as their content.This new way of handling underground documentaries and filmmakers is largely what accounted for the Chinese government returning Zhangke’s credentials.

Today’s underground documentaries are referred to as Sixth Generation productions to distinguish from former Fifth Generation productions. Fifth Generation documentaries and filmswere State funded pieces of social commentary largely set in the past or including pro-communist dialogue to get past the censors, though some were still opposed and thus bannedafter production.Due to State support at least until after the final film was reviewed by sponsors, Fifth Generation documentaries were made with high production values which resulted in stunning visual effects and cinematography.

In contrast, Sixth Generation or underground films, were specifically produced without any attempt made to seek State approval and funding.The opportunity of which producers take advantage involves presenting highly controversial viewpoints that represent the true state of China today.While Sixth Generation producers enjoy the freedom to express themselves as they choose, the lack of Government funding means that these documentaries have low production values and aim at presenting an accurate portrayal of social justice controversies which exist as a function of China’s place in the newly globalized world.⁴

This new reality has resulted in changing the State’s ability to censor and control what is presented in documentary and other types of films.In world filled with technology, constant coverage and immediate transmission of stories, China cannot continue to silence filmmakers who are producing a film with a message the government doesn’t like.When the government chooses to ban controversial documentary films in order to suppress less than ideal representations of China, they risk the development of negative public sentiment. Although China remains a world power and major force in manufacturing in the new globalized economy,the government still can’t risk public opinion going against them as such sentiment could trigger an anti-government response from the Chinese people.

Today there are a number of those who take a stand somewhere in between underground and government sponsored documentary filmmakers. These filmmakers are not willing to settle for the need to film in hidden locations with an almost nonexistent budget nor for the limitations to free expression experienced by those who submit their film to government censors despiteobtaining large grants.At the same time they try to appease the government censors by avoiding the most controversial subject such as the Tiananmen Square crackdown or the persecution of Tibetans.

New and established film producers are helped by volunteer film promoters and producers who raise money, give advice to young film makers and organize screenings on college campuses around China which while not entirely hidden, are small so as not to call attention to their efforts.This project is organized by CNEX, which stands for China Next, a non-profit company begun by two Taiwanese film enthusiasts.CNEX aims to produce 100 documentaries in 10 years to document the current social landscape of China in the age of effort to maintain control of public opinion about China. Although filmed in China, documentary films funded by CNEX are still not screened due to continued governmental regulations that are slow to change. However, they are gaining wide acclaim abroad.⁵

In regards to the state of documentary filmmaking today, many would say that “any effort to understand China’s visual culture today must start from an understanding of the New

Documentary Movement.” ⁶ This project, begun in 1990, was an effort to bring little know documentaries to the attention of the Chinese public. With the increased attention and morewidespread awareness of their films, China’s documentary filmmakers began expanding their coverage of not just popular topics, but controversial topics as well.

Chinesedocumentary filmmakers have revolutionized the way the public learns about and responds to the rapid socialchanges that continue to occur in China due to globalization.Formally a private endeavor, keeping up with social commentary and critique is now publicly pursued and debated by the Chinese people. As more filmmakers have started to take part in this movement, the number and variety of documentaries in China has increased sharply.Producers, filmmakers and movie goers in other countries are now following movies, documentary makers and upcoming releases that have resulted from this effort.

Bibliography

Beina Xu. “Media Censorship in China.”Council on Foreign Relations, (2014.)

Berry, Chris, LuXinyu,and Lisa Rofel, eds. “The New Chinese Documentary FilmMovement: For the Public Record.” Hong Kong: Hong Kong University Press, (2010.)

Chen, Mo and Zhiwei Xiao.” Chinese Underground Films: Critical Views from China. In From Underground to Independent: Alternative Film Culture in Contemporary China,” ed. Paul G. Pickowicz and Yingjin Zhang. Lanham, MD: Rowman & Littlefield. (2006).

Esary, Ashley. “Speak No Evil: Mass Media Control in Contemporary China.” Freedom at Issue Special Report, (2006).

Jacobs, Andrea. “A Path to the World for Chinese Directors: CNEX, a Nonprofit, Helps Filmmakers Document China.” Human Rights Watch. (2014).

Perlez, Jane. “In Sophisticated Shanghai, Still Sneaking to See Films.” The New York Times, (2003).