cinéma(s) asiatique(s) :infos, diffusions télé, sites...

Maya a écrit: "24 city" sur "Arte" plus de précisions en allant sur le site suivant

http://programme-tv.orange.fr/programme/arte/2011-08-25/24-city-51642678.html

dGF: Has this exhibition changed your understanding of the Cultural Revolution and film? What were the major obstacles you faced in curating the exhibition at *Film Archiv Austria*?

Chris Berry: I guess my thinking about the Cultural Revolution was already changing along with a lot of other peoples’, and the process of putting together the series became part of that. I was very struck when I read the Tsinghua University professor and leading mainland public intellectual Professor Wang Hui’s comments in “Contemporary Chinese Thought and the Question of Modernity,” where he argued that the legitimacy of the entire contemporary Chinese political, social and cultural formation is built on the repudiation of the Cultural Revolution. Along with everyone else, I had taken that repudiation for granted for a long time and not gone much further. If today’s combination of neo-liberal economics and authoritarian politics needs a stereotype of the Cultural Revolution as a disastrous combination of the opposite — a command economy and anarchic politics — maybe that’s too simple. It’s not that I want to embrace the Cultural Revolution! But I think it made me realize that we need to decouple the Cultural Revolution from legitimization of the present to get a more complex understanding of it.

In the area of culture specifically, Paul Clark’s book, The Chinese Cultural Revolution: A History, has helped to explode all kinds of myths about the Cultural Revolution. Those include the idea that there were only 8 Model Works (yangbanxi) — there were more. And the idea that the films of those 8 Model Works were only movies that the 800 million Chinese had access to was wrong, too. There were older films that continued to circulate, numerous documentaries, new feature films after 1972, and a range of foreign films from countries like Romania, Albania, and North Korea. So, I already wanted to take another look by the time the idea for the series came up. [..]

dGF: In present day China, both censored film and art are often disseminated through the conduit of social media and the Internet, but what about censored output during the Cultural Revolution? I understand films that were sanctioned by the CCP were shown in cities at theaters and in the countryside by teams of roving projectionists. In a sense, this was a very egalitarian medium for communication. Nevertheless, did an audience and an apparatus for distribution of illicit material exist during the Cultural Revolution?

Berry: No. Or at least I have never heard of anything like that. Film was easy to control, compared say with poetry or even art. We know that people wrote underground novels and poems, copied them, and circulated them by hand. We know that some artists made watercolors on thin tissue paper, rolled them up, and hid them in a secret compartment of furniture. We even know that the Party had trouble establishing standardized and unchanging versions of the model works, and that was one of the reasons they wanted to film them — once their were filmed and the authorized version was clear to everyone, local troupes couldn’t make local changes! But there was no video, and not even any home movie cameras in China then, let alone the internet.

I suppose the closest thing to what you’re asking about was so called “internal” (neibu) screenings of banned works and foreign works that were not released to the general public. In theory, these were to inform trusted central figures of what to be on guard against. But tickets to internal screenings were highly sought after, and not always for those reasons! I believe that Madame Mao (Jiang Qing) was a huge fan of The Sound of Music. I’ve always found Julie Andrews a bit scary. [..]

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