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The New Chinese Documentary Film MovementFor the Public Record$
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Chris Berry, Xinyu Lu, and Lisa Rofel

Print publication date: 2010

Print ISBN-13: 9789888028528

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789888028528.001.0001

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DV: Individual Filmmaking

DV: Individual Filmmaking

Chapter:
(p.49) 3 DV: Individual Filmmaking
Source:
The New Chinese Documentary Film Movement
Author(s):

Wu Wenguang

Cathryn Clayton

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789888028528.003.0003

When the mini DV camera was introduced in about 1997, both the New Documentary Movement and its low-cost style received a further boost. The impact of the mini DV was remarkable. First, it changed the mode of filmmaking. The small camera made one-person filmmaking possible. In his chapter, translated for this volume, Wu Wenguang himself celebrates his experience of the DV camera as a personal transformation and even a salvation. This is not because of the technical properties of DV, but because he feels it enables him to break through the barrier between the filmmaker and their subjects, creating a communal experience rather than a hierarchical one. Meanwhile, the alternative appropriation of DV in the People's Republic should alert one to the fact that DV has no single essence, but already means different things in different places according to local circumstances.

Keywords:   documentary filmmaking, DV camera, New Documentary Movement, Wu Wenguang, China

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