Emphasizing the role of documentary in shaping a nation-state’s image, demonstrating social development and promoting cultural exchanges, this book examines the changes in China’s national image in documentaries at home and abroad since 1949.Based on theoretical frameworks of media sociology, political economy of communication and cultural studies, the book traces the development of Chinese documentary and discusses social transformation and cultural representation embodied in documentaries related to China. It is revealed how these works witness, reflect and interact with social transitions in all aspects of a modernizing China, as well as how documentary production struggles among and mediates between technology, market, ideology, social forces and professionalism. In terms of future prospects of documentary in an era when media convergence is burgeoning, the author explores feasible paths to further promotion of cross-cultural communication and China’s national image, by analyzing documentary aesthetics and representative cases of documentary practice.The title will appeal to scholars and students interested in culture and communication, documentary, film, media and Chinese society.

《大路朝天》導演張贊波，睽違十年，非虛構長篇巨著
貼身潛伏於內蒙古百萬粉絲「狼主播」網紅身邊
中國社會與直播宇宙交錯的荒誕現形記
風景與囚籠之間的奇異世界
線上線下、現實虛幻，都是人們的欲望遊戲
張贊波的書寫，就像一部躍然紙上、精采紛呈的紀錄片劇集
【書中收錄田野紀實攝影】
中國內蒙古，藍天白雲大草原，蒼狼白鹿蒙古馬──其暗面是觀光圈地、動物營利、生態破壞、傳統式微，以及愈來愈走火入魔的直播與攝影風潮。中國每天有幾十億人次遊走於直播平臺，各種不同類型的網紅主播崛起，各種光怪陸離的景象如病毒一般在線上線下同步蔓延。作為世界第一大相機擁有國，龐大的民間觀光攝影團成群結隊奔赴廣袤山河，用手裡的高檔相機，製造出千篇一律的「集體主義美學觀」美景大片、動物靚照和美女寫真。網紅主播與攝影團卻對身邊的嚴峻現實視而不見，藉助美顏濾鏡和PS技術，竭力讓世界變成一個「正能量」和「歲月靜好」的烏托邦。
張贊波潛伏於內蒙古風景區，近身觀察在「直播宇宙」中穿行的網紅「狼主播」，如何將千里之外的草原風景與「野狼」，透過網路輸送各地，由此靠著粉絲打賞與帶貨獲利。而與狼主播共舞的「野狼們」，每天只能被囚於籠中，啃食冰凍的雞架子果腹。手機螢幕上的「美女與野狼」，背後是對流量數字的重重算計，以及藉助話術和「人設」完成的層層包裝。
網紅們沉浸在直播宇宙的世界裡，享受琳琅滿目的電子禮物以及粉絲們的免費愛心，想破頭腦漲粉絲、上熱門──貼緊官方的正能量主旋律是正途，一走歪，也可能中箭落馬。其實網紅也如動物是「可割可棄」的消耗品，不行了，就再打造另一個網紅。師父帶徒弟，重新走起！繼續掠奪自然風景與動物，繼續多重面具的遊戲人生。
昔日皇帝的獵場，如今成為官商共謀的觀光景區，政府大舉徵地，牧民逐水草而居的生活愈來愈困難。夢想發大財的觀光霸主，一面擘劃草原上的江山藍圖能掙得多少門票錢，一面積欠建築工、守衛、馴馬師的工資。被圈起的景區，內部設立起各式囚籠，有狼、有馬、有鹿，供聞風而至的業餘「攝影家」和觀光客們，人手一臺「大炮」和手機，對著囚籠裡的獵物「咔嚓咔嚓」，彷若發射沒有煙硝的子彈。從蒙古國來的年輕騎士們，像先祖成吉思汗一樣遠征千里遙遙路途，只為在異國他鄉「打黑工」，既沒有職業保險，工資也遭層層盤剝，祖上的榮光歷史和文化，被以「中國速度」火速打包成「觀光項目」，最後變成粗製濫造舞臺上任人消遣哂笑的庸俗劇。
隨著四季流轉、冬去春來，在這片自然風景疊加人造風景、觀光業和直播業齊頭並進的大草原上，金錢、功名、情色、權力……各種欲望在不加掩飾地流淌；欺騙、背叛、暴力、貪婪、壓榨……眾多故事在目不暇給地發生，濃墨重彩地構築一幅映射當下中國人精神症候的人間浮世繪。狼心狗肺、狼狽為奸、狼子野心──這些取自動物的形容，其實都是屬於人的，人類社會才是最大的動物世界和叢林世界。
張贊波單槍匹馬、長期置身田野，藉助筆和鏡頭，冷峻打量被極權形塑的奇異風景，敏銳捕捉黑色幽默的荒謬奇觀，犀利透視當代中國的幽暗現實，並時常直面最核心最堅硬的時代命題，做出自己的真切反思和深刻拷問。張贊波的文字飽滿，富有細節與厚度，敘事架構和情節走向呈現出傳統章回小說般的質感，也許再次印證那句話：在當下中國，現實遠比虛構電影更戲劇化、更引人入勝，也更讓人鏡鑒深思。

內容簡介： 「誰能操縱民眾情感，誰就能掌握政治運動。」 隨著雨傘運動佔領廣場的結束，香港多了一個嶄新名詞──「社運創傷」。創傷往往來自情感，與高舉理性的「和理非非」表面上相互矛盾。然而，要療癒創傷，得先了解情感與理性其實你中有我，同樣牽引政治運動及權力結構。 政府拋出「好心情」計劃、民間湧現「愛」字頭社團……一連串「快樂」、「愛」的正面旗號，真的讓我們變得積極樂觀？還是引領出社會集體鬱躁？「佛系」、「逃避新聞族」、身心靈治療興盛，只因個人的情緒困擾？抑或有更深層次的問題根源？ 流動共學執委、香港嶺南大學文化研究系客席副教授許寶強，透過文化、政治、哲學及心理的層面剖析政治與情感的緊密關係，將「情感轉向」帶來的集體鬱躁因由抽絲剝繭，再思考如何打破由個人到社會的情緒困局，在希望匱乏的境況中尋找可能的出口。  本書賣點：作者為深受學生歡迎的大學講師，對時政及社會文化時有深刻評論，周時積極發展民間民主教育，其學生之一羅冠聰曾於社交媒體上形容他為「啟蒙者」。 本書用後傘運時代的集體情感創傷為切入點，討論政治與情感不能分割的關係，並分析當代社會情緒問題橫行的因由，提出在希望匱乏的香港中生活的另類思考方式。  目錄：前言  閱讀當代香港的情感地圖 第一章  情感的文化政治1.1 知識危機與悲觀情緒1.2  情感也是理性認知1.3  一場雨傘運動 兩種情感創傷 第二章  勁灰頹爆的解放潛能2.1從恐懼的文化到焦慮的政治2.2  靦腆、羞恥、內咎、妒恨2.3集體的苦悶與憂鬱 第三章  正向情感的暗黑面貌3.1 以愛為名的仇恨政治3.2當快樂成為指標之後…3.3 希望匱乏遇上正向思維 第四章  絕望社會的希望政治 4.1自殺的另類思考4.2認真希望　抗爭快樂4.3絕望的虛妄與情感的培力 後記  尋根扣問──虛無時代的思考方法 參考書目

Since the early 1990s, while mainland China’s state-owned movie studios have struggled with financial and ideological constraints, an exciting alternative cinema has developed. Dubbed the “Urban Generation,” this new cinema is driven by young filmmakers who emerged in the shadow of the events at Tiananmen Square in 1989. What unites diverse directors under the “Urban Generation” rubric is their creative engagement with the wrenching economic and social transformations underway in China. Urban Generation filmmakers are vanguard interpreters of the confusion and anxiety triggered by the massive urbanization of contemporary China. This collection brings together some of the most recent original research on this emerging cinema and its relationship to Chinese society.The contributors analyze the historical and social conditions that gave rise to the Urban Generation, its aesthetic innovation, and its ambivalent relationship to China’s mainstream film industry and the international film market. Focusing attention on the Urban Generation’s sense of social urgency, its documentary impulses, and its representations of gender and sexuality, the contributors highlight the characters who populate this new urban cinema—ordinary and marginalized city dwellers including aimless bohemians, petty thieves, prostitutes, postal workers, taxi drivers, migrant workers—and the fact that these “floating urban subjects” are often portrayed by non-professional actors. Some essays concentrate on specific films (such as Shower and Suzhou River) or filmmakers (including Jia Zhangke and Zhang Yuan), while others survey broader concerns. Together the thirteen essays in this collection give a multifaceted account of a significant, ongoing cinematic and cultural phenomenon.Contributors. Chris Berry, Yomi Braester, Shuqin Cui, Linda Chiu-han Lai, Charles Leary, Sheldon H. Lu, Jason McGrath, Augusta Palmer, Bérénice Reynaud, Yaohua Shi, Yingjin Zhang, Zhang Zhen, Xueping Zhong

From a semio-pragmatic perspective and drawing on an interdisciplinary and intermedial approach, this book analyses how the audiovisual thinking process manifests itself in essay films. It explores how issues of subjectivity and identity, whether individual, social, political or cultural, prompt thought through the medium of cinema.
The volume discusses the European Francophone essay film from its first appearance in cinematic modernity to the present. The study is developed in three stages. The first analyses the intermedial forms that are used: the letter, the (self-)portrait, the dialogue, the diptych, etc. The second examines the audiovisual materials that are mobilised. The third addresses the audiovisual procedures that are generated. In its analysis of works by Marker, Godard, Akerman, Varda and others, this book offers a new and detailed understanding of the production, evolution and achievements of the essay film in Francophone Europe.

《電影之書》於1985年出版，經歷多次修訂及擴展，本書譯自2007年的最近期版本。書中呈現多重聲音，從不同觀點辯論電影的歷史、理論與分析，涵蓋好萊塢與全球電影的動態互動，並將其放入更廣泛的文化脈絡中討論，內容分為七大單元：好萊塢與好萊塢之外的電影、明星制度、電影技術、世界電影、電影類型、作者與電影及電影理論的發展，透過多角度視野，重新定義電影的活力與多樣性，被譽為電影研究領域的重要讀本，也是影迷不可或缺的電影指南。

This volume will be a ‘time capsule’ of the first 10 years of Studies in Documentary Film (2007–2016), tracing not only the development of the journal but also of documentary studies in the same period. Issues such as the rise of digital documentary forms and authorship, documentary activism, and the Chinese Independent documentary, as well as diverse political issues, will be raised in the introduction and evidenced in the articles. The chapters have been chosen for the various themes they raise in documentary studies but also the broader field of documentary scholarship (including publishing), and the rise of the internet as a powerful force in documentary studies.

Open Space New Media Documentary examines an emerging and significant area of documentary practice in the twenty-first century: community-based new media documentary projects that move across platforms and utilize participatory modalities. The book offers an innovative theorization of these collaborative and collective new media practices, which the authors term "open space," gesturing towards a more contextual critical nexus of technology, form, histories, community, convenings, collaborations, and mobilities. It looks at a variety of low cost, sustainable and scalable documentary projects from across the globe, where new technologies meet places and people in Argentina, Canada, India, Indonesia, Peru, South Africa, Ukraine, and the USA.

散文的文類邊界模糊，來自於「散」的先天本質。「散」意味著自由、開放、多維度、多面向，不拘格式，不泥套法。它的園地無限開放，百花齊放是恆常的景觀；它容許混合雜糅，且迴避陷入單一模式；它追求混聲合唱的寬廣音域，也欣賞個人獨唱的聲色多變。因為「散」，因為邊界防線的敞開，散文巧妙扮演了「文類之母」的角色。 本書針對現代散文的文類特質、魅力、技巧及歷史發展、思潮演變都做了精要的介紹與評析，不論是散文的創作與欣賞，還是研究與批評，都可以在此書中得到啟發與助益。

第八届中国独立影像年度展（场刊）