Advertisement

Film Schools in the PRC: Professionalization and its Discontents

  • Yomi Braester
Chapter
  • 105 Downloads
Part of the Global Cinema book series (GLOBALCINE)

Abstract

Practical film education in the People’s Republic of China (PRC) is growing fast and has reached, by some indications, a moment of crisis as well as of great potential for development and transformation. In fact, the large number of institutions offering practical training, their rich history, and their diverging approaches cannot be fully covered in a single chapter. Speaking of members of the International Association of Film and Television Schools (CILECT) alone, there are four members in the PRC (not including Hong Kong). An ever-increasing number of universities and schools at the national and provincial levels teach some version of media production, hopping on a bandwagon of student demand, fueled by the explosion of visual media venues.1

Keywords

Technical Skill Media Market Experimental Video Independent Cinema High Education Entrance 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. 1.
    For comprehensive surveys of film education in the PRC, see Ji Zhiwei, et al., eds., Zhongguo dianying zhuanye shi yanjiu: Dianying jiaoyu juan [Historical Studies in the Chinese Film profession: Volume on Film Education] (Beijing: Zhongguo dianying chubanshe, 2011);Google Scholar
  2. Zhang Huijun, et al., eds., Chuancheng yu shuli: Gaodeng dianying hiaoyu yanjiu [Transmission and Grooming: Studies in Higher Education in Film] (Beijing: Zhongguo dianying chubanshe, 2006).Google Scholar
  3. 2.
    Zhong Dafeng, ed., The Status Quo and Trends in International Film Education: Beijing 2008 Interviews on CILECT Film Education (Beijing: BFA internal publication, n.d.); BFA official website, http://www.bfa.edu.cn (accessed August 1, 2011).Google Scholar
  4. 3.
    On BFA, see Stéphane Bergouhnioux and Jean-Marie Nizan, A l’intérieur du cinéma chinois (TV documentary, Cinétévé, 2008);Google Scholar
  5. Lu Hua, ed., Dianying ren de chengzhang: Beijing dianying xueyuan bodaoxi zhuren zhi xueyuren tan [Growing to Be Filmmakers: Talks with BFA Department Heads and Pedagogs] (Beijing: Zhongguo dianying chubanshe, 2007);Google Scholar
  6. Lu Meng, Beijing Dianying xueyuan zhi [BFA Gazette] (Beijing: Beijing dianying xueyuan, 2000);Google Scholar
  7. Sun Xin and Gao Yu, eds., Shi shuo: Beijing dianying xueyuan boshisheng daoshi fangtan lu [Teachers Speak: Interviews with Ph.D. Advisors at BFA] (Beijing: Zhongguo dianying chubanshe, 2010);Google Scholar
  8. Zhang Huijun, et al., eds., Dianying Yaolan: Beijing dianying xueyuan de xiandai tonghua [The Cradle of Cinema: The Modern Fable of BFA] (Beijing: Zhongguo qingnian chubanshe, 2010).Google Scholar
  9. 4.
    Ni Zhen, Memoirs from the Beijing Film Academy: The Genesis of China’s Fifth Generation, trans. Chris Berry (Durham and London: Duke University Press, 2002).CrossRefGoogle Scholar
  10. See also Paul Clark, Reinventing China: A Generation and Its Films (Hong Kong: The Chinese University of Hong Kong, 2005).Google Scholar
  11. 5.
    Maya E. Rudolph, “Chinese Cinema’s Future Faces: The Power of the Old School,” http://dgeneratefilms.com/critical-essays/chinese-cinemas-future-faces-the-power-of-the-old-school/#more-7169 (accessed August 1, 2011).Google Scholar
  12. 6.
    Jianying Zha, Tide Players: The Movers and Shakers of a Rising China (New York, NY: New Press, 2011), 97–137.Google Scholar
  13. 20.
    Ying Liang, “Nothing about Cinema, Everything about Freedom,” http://dgeneratefilms.com/china-today/nothing-about-cinema-everything-about-freedom-by-ying-liang/# more-9872 (accessed May 20, 2012).Google Scholar
  14. 21.
    Mette Hjort, “Dogma 95: A Small Nation’s Response to Globalisation,” in Purity and Provocation: Dogma 95, ed. Mette Hjort and Scott MacKenzie (London: British Film Institute, 2003), 31.Google Scholar

Copyright information

© Mette Hjort 2013

Authors and Affiliations

  • Yomi Braester

There are no affiliations available

Personalised recommendations