Show simple item record

Files in this item

FilesSizeFormatView

There are no files associated with this item.

Item metadata

dc.contributor.advisorIordanova, Dina
dc.contributor.authorDeng, Huimin
dc.coverage.spatialix, 348 p.en_US
dc.date.accessioned2020-07-30T11:28:28Z
dc.date.available2020-07-30T11:28:28Z
dc.date.issued2020-07-27
dc.identifier.urihttp://hdl.handle.net/10023/20373
dc.description.abstractAt the beginning of the 1990s, independent Chinese fiction and documentary film works made their first step, marking the rise of Chinese Sixth Generation cinema. Faced with the dominant communist state ideology and commercial values, both the two film types remained “marginal” and even “underground” in Chinese film history. Thus, the purpose of this thesis is to figure out what cinematic subjects and film aesthetics make them an anomaly in relation to Chinese official and commercial cinema. Regardless of their different film types, this study uses the theories of intertextuality to deal with the iconographic signs and film codes shared by them. I shall argue that in the post-1989 era independent Chinese filmmakers root the two film types in marginal urban groups and jishizhuyi [on-the-scene realism]. On the one hand, they concentrate on urbanites’ sufferings against the background of the oppressive political environment and the social upheaval of China’s reform age. On the other hand, they introduce jishizhuyi and neorealism aesthetics to represent social reality, refusing to dissimulate the cruelty of reality. Under the enlightenment of intertextuality, this thesis provides a new angle of view on what and how contemporary Chinese urban identity is shaped in multiple Chinese independent film works. It also exposes the establishment of independent Chinese filmmakers’ speaking rights in the struggle against the official and commercial system.en_US
dc.description.sponsorship"This work was supported by China Scholarship Council (CSC) [grant number 201608060100]." -- Fundingen
dc.language.isoenen_US
dc.publisherUniversity of St Andrews
dc.rightsCreative Commons Attribution-NonCommercial-NoDerivatives 4.0 International*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.subjectChinese independent cinemaen_US
dc.subjectUrban identityen_US
dc.subjectMarginalityen_US
dc.subjectNeorealist cinemaen_US
dc.subjectIntertextual film imagesen_US
dc.subject.lccPN1993.5C5D4
dc.subject.lcshIndependent films--China--History and criticismen
dc.subject.lcshDocumentary films--China--History and criticismen
dc.subject.lcshMotion pictures--Chinaen
dc.subject.lcshUrbanization--Chinaen
dc.titleThe rise of grassroots voices : Chinese urban identity and independent filmmaking in the post-1989 eraen_US
dc.typeThesisen_US
dc.contributor.sponsorChina Scholarship Council (CSC)en_US
dc.type.qualificationlevelDoctoralen_US
dc.type.qualificationnamePhD Doctor of Philosophyen_US
dc.publisher.institutionThe University of St Andrewsen_US
dc.publisher.departmentDepartment of Film Studiesen_US
dc.rights.embargodate2025-06-11
dc.rights.embargoreasonThesis restricted in accordance with University regulations. Print and electronic copy restricted until 11th June 2025en
dc.identifier.doihttps://doi.org/10.17630/10023-20373


The following license files are associated with this item:

    This item appears in the following Collection(s)

    Show simple item record

    Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
    Except where otherwise noted within the work, this item's license for re-use is described as Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International