PDF file of this presentation: Micro-movie curation
The Theme of My Curation Plan
My curation plan revolves around the critical exploration of how microfilm reflects the current social issues in China. Through the lens of youth, I aim to capture the multifaceted aspects of Chinese society. By providing a platform for the voices and perspectives of the youth, my curation plan seeks to offer an authentic portrayal of the societal landscape in China.
Literature Review
Despite China’s significant economic development in recent decades, it has also faced various social issues that require urgent resolution. The younger generation in the new era holds hopeful aspirations for the future of the entire country, but at the same time, they also face uncertainties and anxieties about their own lives. In China, the gradual solidification of social classes has often ignored the voices and strengths of young people, emphasizing the urgent need to hear and value their perspectives. Furthermore, outside of China, western media “was replete with exotic political coatings confirming the western imagination of China rather than representing the real Chinese perspective.”(Pili, 2006)
“As video art was a new technology growing from former artistic practices…It is rooted in its medium and not only was the medium a liberated one from the canon of art, but it also liberated women-artists, people of color, and those interested in counter-cultural agendas who were able to grow, create, and work free of the oppression existing in the realm of fine arts limitations and institutions at the time.”(Kamla Thurtle, 2021, Curation of the Video Art Exhibition in the Museum)
“Since the emergence of online video sharing sites in China, foreign, underground or grassroots productions have become more accessible to consumers than ever before.”(Elaine Jing Zhao, 2013, The micro-movie wave in a globalising China: Adaptation, formalisation and commercialisation)
“In the creation of short films, directors should be anti-elitist. I hope to see those works that can really make people excited or angry and have realistic tension.” Lei Lei (FIRST Internation Film Festival Jury)
Based on these texts, micro-movies can be viewed as a medium that reflects the true face of society and amplifies the voices that are often ignored.
Although micro movies are a type of short or micro film, their purpose, duration, and mode of distribution are distinct. Micro movies emerged in Hong Kong in 2010 as a unique art form that has since grown in China. Short films, on the other hand, are typically created with artistic and narrative intentions, and are often screened at film festivals or distributed through traditional film channels. In contrast, micro movies are shorter in duration, usually lasting no more than 10 minutes, and are specifically designed to be shared online or through social media platforms. They often focus on capturing everyday life or conveying social messages in a concise and visually appealing manner.
Chinese artists making short films face several issues. One major concern is censorship and restrictions on content. The Chinese government maintains strict control over the media, including films, and short films that touch on sensitive topics or challenge the status quo may face censorship or even be banned. Furthermore, there are difficulties in reaching a wider audience. While micro films have gained popularity through online platforms, the competition is fierce, and it can be challenging for short films to gain widespread recognition beyond film festivals or specialized screenings. As a result, the launch of this exhibition aims to provide a platform for these artists where they can showcase their work without having to worry about censorship.
Artists and artwork
The filmmakers behind these works are all emerging artists, as opposed to established artists with international recognition. I am currently in the process of contacting these filmmakers to obtain permission and clarify copyright ownership of their films.
The following is a list of artworks that reflect various social issues existing in Chinese society:
Time is like some kind of jelly, Meiying Gan, 2021.
This film explores the concept of lost time during the COVID-19 pandemic.
How to break girls’ sense of security in a second, Zhongyan Xia, River Lam, 2022.
The film exposes the lack of a sense of security among women in Chinese society.
Please do not tell her, Yunxia Wang, 2021.
The film focuses on the topic of children’s education.
Time disease, Baiyu Zhou, 2022.
This film sheds light on the extreme pressure faced by Chinese students within the educational system.
The lives of youngsters living in China, Xinyi Shen, 2022
The film delves into the cultural lives of the younger generation in China, depicting their diverse living conditions.
Everything is Here, Xingchen Zhang, 2022.
This film follows a young man’s journey back to his hometown, exploring the concept of “home” as a place that is always there yet remains elusive.
The moment the sleeper knows he is dreaming, Jiawen Wu, 2022.
A video poem written for patients with sleep disorders due to work, this film delves into the reconciliation between bodily ethics and biological capital.
A town girl on the eve of the funeral, Linyuan Zhang, 2021.
This short film depicts a family in a small town dissuading a girl from attending a funeral due to feudal superstition.
REFERENCES
- Thea, Carolee. On Curating: Interviews with Ten International Curators : By Carolee Thea, edited by Thomas Micchelli, ARTBOOK | DIGITAL, 2010. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/ed/detail.action?docID=744541.
- Thurtle, Kamla Lucia. “Curation of the Video Art Exhibition in the Museum.” ProQuest Dissertations Publishing, 2021. Print.
- Zhao, Elaine Jing. “The Micro-Movie Wave in a Globalising China: Adaptation, Formalisation and Commercialisation.” International journal of cultural studies 17.5 (2014): 453–467. Web.
