Wang Bing's Cinema: Shared Spaces of Labor. Issue 1 (March 2014)

• Record Type: Journal Article
• Authors: Pollacchi, Elena
• Is Part Of: Working USA. Volume 17:Issue 1(2014)
• Page Start: 31
• Page End: 43
• Publication Date: 2014-03
• Subjects: Labor unions -- Periodicals; Labor -- Periodicals; Working class -- Periodicals; Labor unions -- United States -- Periodicals; Labor -- United States -- Periodicals; Working class -- United States -- Periodicals; 331
• DOI: 10.1111/wusa.12092
• Languages: English
• ISSNs: 1089-7011

Abstract

<abstract abstract-type="main"> <title> <x xml:space="preserve">Abstract</x> </title> <p>Since the early 1990s, independent filmmakers have dealt with representations of labor to investigate China's rapid transformation. Since the turn of the century, the increasing awareness of the limits of cinematic representations to tackle the contradictions of the Chinese system has led to more challenging approaches, with Wang Bing's cinema among the most effective. This article focuses on Wang Bing's work and discusses it as "cinema of labor." Indeed, since his long documentary <italic>Tiexi qu/Tiexi qu. West of the Tracks (2003)</italic>, on the closing down of a huge industrial area in the northeastern region of Liaoning, Wang Bing's cinema has created a shared experience involving both the viewer and the filmmaker. For over a decade, he has revitalized the concept of cinema as a tool of investigation and social intervention as confirmed by his feature film on the eponymous labor camp <italic>Jiabiangou/The Ditch (2010)</italic>. With his most recent documentaries <italic>San zimei/Three Sisters (2012)</italic> and <italic>Feng Ai/'Til Madness Do Us Part (2013)</italic>, shot in the rural areas of the Yunnan Mountains and in the enclosed space of a mental asylum, he has further challenged the intersection of documentary and drama to expose the paradoxes of the fast‐paced Chinese development.</p> </abstract>