“The idea of inhabiting the world with skillful attention resonates with xianchang (on thespot), an aesthetic and intellectual approach to documentary production embraced by two decades of filmmakers and critics in China to describe the way a filmmaker is situated in relation to time and the specificity of location while engaged in the act of filming” Page[1]. Had a hard time finding the words to begin my response on Laura’s “The Memory Project and Other Ways of Knowing”, so I decide to pick a quote that I believe that summarizes the purpose of the read.
I found the read discusses a style of documentary filming rather than only little narration to compared to other of the same genre leaves the audience to preserve the rhetoric from the interaction of the film maker with his or her environment.
Laura reads was very informative and detailed especially with the example of Director Zhang Mengqi and filmmaker Wu Wenguang self-portrait “Dancing at 47km”, a documentary film with dives in the filmmaker father’s and grandfather village where she tries to gather information about the dreaded famine and find a piece of herself in what I believe to cope with her father’s passing by interacting with it current
I found the read discusses a style of documentary filming rather than only little narration to compared to other of the same genre leaves the audience to preserve the rhetoric from the interaction of the film maker with his or her environment.
Laura reads was very informative and detailed especially with the example of Director Zhang Mengqi and filmmaker Wu Wenguang self-portrait “Dancing at 47km”, a documentary film with dives in the filmmaker father’s and grandfather village where she tries to gather information about the dreaded famine and find a piece of herself in what I believe to cope with her father’s passing by interacting with it current