Children of Marx and Coca-Cola
出版社：Univ of Hawaii Pr
Contents Acknowledgements | ix Introduction: Reading Chinese Avant-garde Art and Independent Cinema in Context | 1 Part 1 Re-creating Urban Space in Avant-garde Art 1. Discourse and Displacement: Contemplating Beijing's Urban Landscape | 33 2.Beijing: Yin Xiuzhen's The Ruined City | 57 3.Globalism or Nationalism? Cai Guoqiang, Zhang Huan, and Xu Bing in New York | 72 Part 2 China's Lost Youth through the Lens of Independent Cinema 4. New Chinese Cinema of the "Sixth Generation": A Distant Cry of Forsaken Children | 91 5.Behind Chinese Walls: The Uncanny Power of Matriarchy in Wang Chao's Anyang Orphan | 115 6.The Imagery of Postsocialist Trauma in Peacock, Shanghai Dreams, and Stolen Life | 129 Part 3 In Quest of Meaning in a Spiritual Void: Film and Video 7. Jia Zhangke's Cinematic Trilogy: A Journey across the Ruins of Post-Mao China | 147 8.The Video Works of Yang Fudong: An Ultimate Escape from a Global Nightmare | 165 9. Ning Hao's Incense: A Curious Tale of Earthly Buddhism | 186 Postlude: Chinese Artists and Filmmakers at the Beginning of a New Century | 205 Notes | 237 Chinese Glossary | 287 Filmography | 291 Bibliography | 293 Index | 307
"Children of Marx and Coca-Cola" affords a deep study of Chinese avant-garde art and independent cinema from the mid-1990s to the beginning of the twenty-first century. Informed by the author's experience in Beijing and New York - global cities with extensive access to an emergent transnational Chinese visual culture - this work situates selected artworks and films in the context of Chinese nationalism and post-socialism and against the background of the capitalist globalization that has so radically affected contemporary China. It juxtaposes and compares avant-garde artists and independent filmmakers from a number of intertwined perspectives, particularly in their shared avant-garde postures and perceptions. Xiaoping Lin provides illuminating close readings of a variety of visual texts and artistic practices, including installation, performance, painting, photography, video, and film. Throughout he sustains a theoretical discussion of representative artworks and films and succeeds in delineating a variegated postsocialist cultural landscape saturated by market forces, confused values, and lost faith. This refreshing approach is due to Lin's ability to tackle both Chinese art and cinema rigorously within a shared discursive space. He, for example, aptly conceptualizes a central thematic concern in both genres as 'postsocialist trauma' aggravated by capitalist globalization. By thus focusing exclusively on the two parallel and often intersecting movements or phenomena in the visual arts, his work brings about a fruitful dialogue between the narrow field of traditional art history and visual studies more generally.
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