Matthew D. Johnson is Assistant Professor of East Asian History at Grinnell College, US. As a doctoral student at the University of California, San Diego he conducted one of the first oral histories of China's early socialist film industry. His scholarly writing focuses on the history of the motion picture in China; documentary cinema and practice; public cultural service and security; and U.S.-China transnational relations. He is a member of the editorial board of the Journal of Chinese Cinemas.Keith B. Wagner is an Assistant Professor of Film Studies and Social Theory in the Graduate School of Film and Digital Media at Hongik University in Seoul, South Korea. Before moving to Asia, he completed his M.Phil degree at the University of Cambridge and his PhD at King’s College London. He is the co-editor of Neoliberalism and Global Cinema: Capital, Culture and Marxist Critique (2011) and is completing a manuscript based on his dissertation entitled Living with Uncertainty: Precarious Labor in Global Cinema.Kiki Tianqi Yu is a filmmaker and Lecturer in Film at the University of the West of Scotland, UK. She publishes on first person documentary, Chinese documentary, camera activism, amateur cinema culture, and cinematic memory in Studies in Documentary Film, Journal of Chinese Cinemas, and Journal of Contemporary Chinese Art, among others. Yu is the author of ‘My’ Self On Camera: First Person Documentary Practice in 21st century China (2018). As a filmmaker, her film works include Photographing Shenzhen (2007), Memory of Home (2009) and the recent feature length documentary film China’s van Gogh (2016).Luke Vulpiani is a PhD candidate at King’s College London under the supervision of Dr Viktor Fan. He has a 1st Class BA Degree in Film Studies from The University of Warwick and a MA in Chinese Studies from SOAS, University of London. His research focuses on aesthetic theory, Chinese film and the relationship between film and philosophy, psychoanalysis and politics.

China’s iGeneration successfully satisfies the reader’s curiosity about China – a worldupcoming nation, and demonstrates the transformation and development of Chinese Cinema from different perspectives through essays written by both Chinese and non- Chinese writers … All in all, the strength of China’s iGeneration is in its careful introduction of the uniqueness of Chinese culture for those who have not been exposed to such concepts before. At the same time, it expresses the authors’ deep understanding and knowledge of fastchanging dynamics in Chinese cinema culture. We all know that China is the world’s second-largest economy, with a rich and unique culture and historical background. Now China’s iGeneration presents the ‘new’ generation through its cinematic point of view and provides readers with a fresh perspective on this great nation.

• Foreword, Chris BerryAcknowledgementsNotes on Transliteration INTRODUCTION: China’s iGeneration Cinema, Keith B. Wagner, Tianqi Yu, Luke Vulpiani PART I. New TechnologiesCHAPTER 1Tianqi YU “Toward a Communicative Practice: Female First-Person Documentary in Twenty-first Century China”CHAPTER 2Paola VOCI “Quasi-Documentary, Cellflix, and Web Spoofs: Chinese Movies’ Other Visual Pleasures"CHAPTER 3Weihua WU “Individuality, State Discourse, and Visual Representation: The Imagination and Practices of the iGeneration in Chinese Animation”CHAPTER 4Bingfeng DONG “Cinema of Exhibition: Film in Chinese Contemporary Art”PART II. AestheticsCHAPTER 5 Luke VULPIANI “Goodbye to the Grim Real, Hello to What Comes Next: The Moment of Passage from the Sixth Generation to the iGeneration”CHAPTER 6 Ling ZHANG “Digitizing City Symphony, Stabilizing the Shadow of Time: Montage and Temporal-Spatial Construction in San Yuan Li”CHAPTER 7 Dan GAO “From Pirate to Kino-eye: A Genealogical Tale of Film Re-Distribution in China”CHAPTER 8Keith B. WAGNER “Xue Jianqiang as Reckless Documentarian: Underdevelopment and Juvenile Crime in post-WTO China”PART III. Social EngagementCHAPTER 9Yiman WANG “Of Animals and Men: Toward A Theory of Docu-ani-mentary”CHAPTER 10Ying QIAN “Working with Rubble: Montage, Tweets, and the Reconstruction of an Activist Cinema”CHAPTER 11Jia TAN “Provincializing the Chinese Mediascape: Cantonese Digital Activism in Southern China”PART IV. Platforms and PoliticsCHAPTER 12Jeesoon HONG with Matthew D. JOHNSON “Shanghai Expo and Screen-Spaces: Big Screens and New Collectivity”CHAPTER 13Ma RAN “Regarding the Grassroots Chinese Independent Film Festivals: Regional Assemblage and Abnormal Film Networking”CHAPTER 14Matthew D. JOHNSON “Wu Wenguang and the NGO Aesthetic” CHAPTER 15Xiaomei CHEN “The Cinematic Deng Xiaoping: Reform or Restoration?”PART V: Online AudiencesCHAPTER 16Ralph PARFECT “You Must Believe There is Such a Person in This World”: Internet Contention of Zhang Yimou’s Sexual Storytelling in Under the Hawthorn Tree/Shanzhashu Zhi Lian”CHAPTER 17 Xiao LIU “From the Glaring Sun to the Flying Bullets: The Dilemma of Elliptical Memories in “post-” Era Chinese Cinema”Notes on Contributors Index

Matthew D. Johnson is Assistant Professor of East Asian History at Grinnell College, US. As a doctoral student at the University of California, San Diego he conducted one of the first oral histories of China's early socialist film industry. His scholarly writing focuses on the history of the motion picture in China; documentary cinema and practice; public cultural service and security; and U.S.-China transnational relations. He is a member of the editorial board of the Journal of Chinese Cinemas.Keith B. Wagner is an Assistant Professor of Film Studies and Social Theory in the Graduate School of Film and Digital Media at Hongik University in Seoul, South Korea. Before moving to Asia, he completed his M.Phil degree at the University of Cambridge and his PhD at King’s College London. He is the co-editor of Neoliberalism and Global Cinema: Capital, Culture and Marxist Critique (2011) and is completing a manuscript based on his dissertation entitled Living with Uncertainty: Precarious Labor in Global Cinema.Kiki Tianqi Yu is a filmmaker and Lecturer in Film at the University of the West of Scotland, UK. She publishes on first person documentary, Chinese documentary, camera activism, amateur cinema culture, and cinematic memory in Studies in Documentary Film, Journal of Chinese Cinemas, and Journal of Contemporary Chinese Art, among others. Yu is the author of ‘My’ Self On Camera: First Person Documentary Practice in 21st century China (2018). As a filmmaker, her film works include Photographing Shenzhen (2007), Memory of Home (2009) and the recent feature length documentary film China’s van Gogh (2016).Luke Vulpiani is a PhD candidate at King’s College London under the supervision of Dr Viktor Fan. He has a 1st Class BA Degree in Film Studies from The University of Warwick and a MA in Chinese Studies from SOAS, University of London. His research focuses on aesthetic theory, Chinese film and the relationship between film and philosophy, psychoanalysis and politics.

China’s iGeneration successfully satisfies the reader’s curiosity about China – a worldupcoming nation, and demonstrates the transformation and development of Chinese Cinema from different perspectives through essays written by both Chinese and non- Chinese writers … All in all, the strength of China’s iGeneration is in its careful introduction of the uniqueness of Chinese culture for those who have not been exposed to such concepts before. At the same time, it expresses the authors’ deep understanding and knowledge of fastchanging dynamics in Chinese cinema culture. We all know that China is the world’s second-largest economy, with a rich and unique culture and historical background. Now China’s iGeneration presents the ‘new’ generation through its cinematic point of view and provides readers with a fresh perspective on this great nation.

• Foreword, Chris BerryAcknowledgementsNotes on Transliteration INTRODUCTION: China’s iGeneration Cinema, Keith B. Wagner, Tianqi Yu, Luke Vulpiani PART I. New TechnologiesCHAPTER 1Tianqi YU “Toward a Communicative Practice: Female First-Person Documentary in Twenty-first Century China”CHAPTER 2Paola VOCI “Quasi-Documentary, Cellflix, and Web Spoofs: Chinese Movies’ Other Visual Pleasures"CHAPTER 3Weihua WU “Individuality, State Discourse, and Visual Representation: The Imagination and Practices of the iGeneration in Chinese Animation”CHAPTER 4Bingfeng DONG “Cinema of Exhibition: Film in Chinese Contemporary Art”PART II. AestheticsCHAPTER 5 Luke VULPIANI “Goodbye to the Grim Real, Hello to What Comes Next: The Moment of Passage from the Sixth Generation to the iGeneration”CHAPTER 6 Ling ZHANG “Digitizing City Symphony, Stabilizing the Shadow of Time: Montage and Temporal-Spatial Construction in San Yuan Li”CHAPTER 7 Dan GAO “From Pirate to Kino-eye: A Genealogical Tale of Film Re-Distribution in China”CHAPTER 8Keith B. WAGNER “Xue Jianqiang as Reckless Documentarian: Underdevelopment and Juvenile Crime in post-WTO China”PART III. Social EngagementCHAPTER 9Yiman WANG “Of Animals and Men: Toward A Theory of Docu-ani-mentary”CHAPTER 10Ying QIAN “Working with Rubble: Montage, Tweets, and the Reconstruction of an Activist Cinema”CHAPTER 11Jia TAN “Provincializing the Chinese Mediascape: Cantonese Digital Activism in Southern China”PART IV. Platforms and PoliticsCHAPTER 12Jeesoon HONG with Matthew D. JOHNSON “Shanghai Expo and Screen-Spaces: Big Screens and New Collectivity”CHAPTER 13Ma RAN “Regarding the Grassroots Chinese Independent Film Festivals: Regional Assemblage and Abnormal Film Networking”CHAPTER 14Matthew D. JOHNSON “Wu Wenguang and the NGO Aesthetic” CHAPTER 15Xiaomei CHEN “The Cinematic Deng Xiaoping: Reform or Restoration?”PART V: Online AudiencesCHAPTER 16Ralph PARFECT “You Must Believe There is Such a Person in This World”: Internet Contention of Zhang Yimou’s Sexual Storytelling in Under the Hawthorn Tree/Shanzhashu Zhi Lian”CHAPTER 17 Xiao LIU “From the Glaring Sun to the Flying Bullets: The Dilemma of Elliptical Memories in “post-” Era Chinese Cinema”Notes on Contributors Index

Matthew D. Johnson is Assistant Professor of East Asian History at Grinnell College, US. As a doctoral student at the University of California, San Diego he conducted one of the first oral histories of China's early socialist film industry. His scholarly writing focuses on the history of the motion picture in China; documentary cinema and practice; public cultural service and security; and U.S.-China transnational relations. He is a member of the editorial board of the Journal of Chinese Cinemas.Keith B. Wagner is an Assistant Professor of Film Studies and Social Theory in the Graduate School of Film and Digital Media at Hongik University in Seoul, South Korea. Before moving to Asia, he completed his M.Phil degree at the University of Cambridge and his PhD at King’s College London. He is the co-editor of Neoliberalism and Global Cinema: Capital, Culture and Marxist Critique (2011) and is completing a manuscript based on his dissertation entitled Living with Uncertainty: Precarious Labor in Global Cinema.Kiki Tianqi Yu is a filmmaker and Lecturer in Film at the University of the West of Scotland, UK. She publishes on first person documentary, Chinese documentary, camera activism, amateur cinema culture, and cinematic memory in Studies in Documentary Film, Journal of Chinese Cinemas, and Journal of Contemporary Chinese Art, among others. Yu is the author of ‘My’ Self On Camera: First Person Documentary Practice in 21st century China (2018). As a filmmaker, her film works include Photographing Shenzhen (2007), Memory of Home (2009) and the recent feature length documentary film China’s van Gogh (2016).Luke Vulpiani is a PhD candidate at King’s College London under the supervision of Dr Viktor Fan. He has a 1st Class BA Degree in Film Studies from The University of Warwick and a MA in Chinese Studies from SOAS, University of London. His research focuses on aesthetic theory, Chinese film and the relationship between film and philosophy, psychoanalysis and politics.

China’s iGeneration successfully satisfies the reader’s curiosity about China – a worldupcoming nation, and demonstrates the transformation and development of Chinese Cinema from different perspectives through essays written by both Chinese and non- Chinese writers … All in all, the strength of China’s iGeneration is in its careful introduction of the uniqueness of Chinese culture for those who have not been exposed to such concepts before. At the same time, it expresses the authors’ deep understanding and knowledge of fastchanging dynamics in Chinese cinema culture. We all know that China is the world’s second-largest economy, with a rich and unique culture and historical background. Now China’s iGeneration presents the ‘new’ generation through its cinematic point of view and provides readers with a fresh perspective on this great nation.

• Foreword, Chris BerryAcknowledgementsNotes on Transliteration INTRODUCTION: China’s iGeneration Cinema, Keith B. Wagner, Tianqi Yu, Luke Vulpiani PART I. New TechnologiesCHAPTER 1Tianqi YU “Toward a Communicative Practice: Female First-Person Documentary in Twenty-first Century China”CHAPTER 2Paola VOCI “Quasi-Documentary, Cellflix, and Web Spoofs: Chinese Movies’ Other Visual Pleasures"CHAPTER 3Weihua WU “Individuality, State Discourse, and Visual Representation: The Imagination and Practices of the iGeneration in Chinese Animation”CHAPTER 4Bingfeng DONG “Cinema of Exhibition: Film in Chinese Contemporary Art”PART II. AestheticsCHAPTER 5 Luke VULPIANI “Goodbye to the Grim Real, Hello to What Comes Next: The Moment of Passage from the Sixth Generation to the iGeneration”CHAPTER 6 Ling ZHANG “Digitizing City Symphony, Stabilizing the Shadow of Time: Montage and Temporal-Spatial Construction in San Yuan Li”CHAPTER 7 Dan GAO “From Pirate to Kino-eye: A Genealogical Tale of Film Re-Distribution in China”CHAPTER 8Keith B. WAGNER “Xue Jianqiang as Reckless Documentarian: Underdevelopment and Juvenile Crime in post-WTO China”PART III. Social EngagementCHAPTER 9Yiman WANG “Of Animals and Men: Toward A Theory of Docu-ani-mentary”CHAPTER 10Ying QIAN “Working with Rubble: Montage, Tweets, and the Reconstruction of an Activist Cinema”CHAPTER 11Jia TAN “Provincializing the Chinese Mediascape: Cantonese Digital Activism in Southern China”PART IV. Platforms and PoliticsCHAPTER 12Jeesoon HONG with Matthew D. JOHNSON “Shanghai Expo and Screen-Spaces: Big Screens and New Collectivity”CHAPTER 13Ma RAN “Regarding the Grassroots Chinese Independent Film Festivals: Regional Assemblage and Abnormal Film Networking”CHAPTER 14Matthew D. JOHNSON “Wu Wenguang and the NGO Aesthetic” CHAPTER 15Xiaomei CHEN “The Cinematic Deng Xiaoping: Reform or Restoration?”PART V: Online AudiencesCHAPTER 16Ralph PARFECT “You Must Believe There is Such a Person in This World”: Internet Contention of Zhang Yimou’s Sexual Storytelling in Under the Hawthorn Tree/Shanzhashu Zhi Lian”CHAPTER 17 Xiao LIU “From the Glaring Sun to the Flying Bullets: The Dilemma of Elliptical Memories in “post-” Era Chinese Cinema”Notes on Contributors Index