Through the Lens of Youth: A Collection of Microfilms on Chinese Contemporary Life
“It(the cinema) is gradually becoming a language.” As Alexandre Astruc noted in 1948, cinema was evolving into a language, and he coined the term ‘camera-pen’ to describe the film’s potential as a flexible and subtle means of writing. Filmmakers have endeavored to use films as a medium to express their ideas, tell their stories, and convey their thoughts.
The emergence of micro-movies as a sub-genre of cinema has opened up a new space for artistic experimentation and freedom of expression. With lower budgets and minimal equipment requirements, micro-movies offer a unique opportunity for filmmakers to express themselves and create works that challenge traditional modes of storytelling. In China, this freedom has allowed many young artists to address social and political issues that might not have been possible in mainstream media. As Elaine Jing Zhao notes, “foreign, underground or grassroots productions have become more accessible to consumers than ever before” since the emergence of online video sharing sites. The micro-movie genre is a testament to the power of new media in expanding the boundaries of artistic expression and democratizing access to the means of creative production.
I have invited four artists and their respective micro-movies, each of which explores a different social issue through a unique form of storytelling. The aim of exhibtion is to give voice to the perspectives of young people and provide an opportunity for them to express their observations, thoughts, and ideas about the real-world challenges they face in modern China. Through this exhibition, we seek to create a space where the voices of the younger generation can be heard and valued, and where their creative expressions can be appreciated and understood.
The first artist, Yixin Shen, presents “The Lives of Youngsters Living in China 2020-2021” as the opening work of this exhibition. The film offers a unique perspective on the concept of “youth” as seen through the eyes of the artist. Inspired by Pietro Coppolecchia’s exploration of underground youth culture in Amsterdam, Yixin Shen recorded the lives of young people from different backgrounds, industries, and regions in China over the course of two years. Through this experimental short film, Shen presents a vivid portrayal of the diverse states of life among the younger generation in China.
Jiawen Wu’s work, “The Moment The Sleeper Knows He Is Dreaming,” is a visual poem dedicated to young workers who suffer from sleep disorders due to their work schedules. This film explores the societal pressures and technological controls that contribute to the loss of subjectivity and personal time in the face of the demands of the economy. Wu’s work is a poignant reminder of the physical and ethical consequences of our fast-paced, round-the-clock lifestyles.
Yunxia Wang’s work “Please Do Not Tell Her” sheds light on the traditonal Chinese education system and how it affects individuals. We can see how young people who grew up in this oppressive educational system reflect on it and respond to it. Through the eyes of a young girl and her struggles with the pressures of education, Wang highlights the need for change in the current system. The story is based on the artist’s own experiences with her younger sister and the competitive nature of the education system in China.
Xingchen Zhang’s work “Everything Is Here” captures the sense of belonging that young people seek in urban life. The film takes the audience on a journey of a young man returning to his hometown. Through the blurring of memories, dreams, and reality, the film portrays the complex emotions associated with the idea of “home.” Ultimately, the film aims to resonate with viewers and convey a powerful emotional message.
As for curatorial and artistic projects that relate to my theme/concept, I found a exhibtion called PAPAY GYRO NIGHTS presents, INCOHERENT CINEMA : BERTRAND MANDICO, KATRIN OLAFSDOTTIR. The curation features a selection of films based on the principles of incoherent cinema, which takes a unique approach to filmmaking. This reflects the need for curators to showcase artists who push boundaries and challenge norms in their creative process. As such, it is important to embrace a wide range of artistic styles and approaches in order to foster a diverse and inclusive exhibition.
more related curation examples I’ve found, please see this blog: Week 4
REFERENCE
- Alexandre Astruc, THE BIRTH OF A NEW AVANT-GARDE: LA CAMERA-STYLO, 1948
- Elaine Jing Zhao, 2013, The micro-movie wave in a globalising China: Adaptation, formalisation and commercialisation
