Angela Zito – författare

This volume brings to the study of China the theoretical concerns and methods of contemporary critical cultural studies. Written by historians, art historians, anthropologists and literary critics who came of age after the People's Republic resumed scholarly ties with the United States, these essays provide new insights not only for China studies but also, by extension, for non-Asian cultural criticism. Contributors investigate problems of bodiliness, engendered subjectivities and discourses of power through a variety of sources that include written texts, paintings, buildings, interviews and observations. Taken together, the essays show that bodies in China have been classified, represented, discussed, ritualized, gendered and eroticized in as many ways as those described in critical histories of the West. Silk robes, rocks, winds, gestures of bowing, yin yang hierarchies and cross-dressing have helped create experiences of the body specific to Chinese historical life.By pointing to multiple examples of re-imagining subjectivity and renegotiating power, the essays encourage scholars to avoid making broad generalizations about China and to rethink traditional notions of power, subject and bodiliness in light of actual Chinese practices.

The Qianlong emperor, who dominated the religious and political life of 18th-century China, was in turn ruled by elaborate ritual prescriptions. These texts determined what he wore and ate, how he moved, and above all how he performed the yearly Grand Sacrifices. In this study, Angela Zito offers an analysis of the way ritualizing power was produced jointly by the throne and the official literati who dictated these prescriptions. Forging a critical cultural historical method that challenges traditional categories of Chinese studies, Zito shows that in their "performance", the ritual texts literally embodied the metaphysics upon which imperial power rested. By combining rule through the brush (the production of ritual texts), with rule through the body (mandated performance), the throne both exhibited its power and attempted to control resistance to it. Encompassing Chinese history, anthropology, religion, and performance and cultural studies, this book seeks to bring a new perspective to the human sciences.

In 1990s post-Reform China, a growing number of people armed with video cameras poured out upon the Chinese landscape to both observe and contribute to the social changes then underway. This digital turn has given us a “DV China” that includes film and media communities across different social strata and disenfranchised groups, including ethnic and religious minorities and LGBTQ communities. DV-Made China takes stock of these phenomena by surveying the social and cultural landscape of grassroots and alternative cinema practices.The volume shows how Chinese independent, amateur, and activist filmmakers energize the tension between old and new media, performance and representation, fiction and non- fiction, art and politics, China and the world. Essays by scholars in cinema and media studies, anthropology, history, Asian and Tibetan studies bring innovative interdisciplinary methodologies to critically expand upon existing scholarship on contemporary Chinese independent documentary. Their inquiries then extend to narrative feature, activist video, animation, and other digital hybrids. Portability facilitates forms of radically private filmproduction and audience habits of small-screen consumption. Yet it also links up makers and consumers, curators and censors allowing for speedier circulation, more discussion, and quicker formations of public political and aesthetic discourses.DV-Made China introduces new frameworks in a Chinese setting that range from aesthetics to ethical activism, from digital shooting and editing techniques to the politics of film circulation in festivals and online. Politics, the authors argue, travels along paths of aesthetic excitement, and aesthetic choices, conversely, always bear ethical consequences. The films, their makers, their audiences and their distributional pathways all harbor implications for social change that are closely intertwined with the fate of media culture in a world that both contains and is influencedby China.