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- Category: Event
- Category: Uncategorised
- Post-screening – Written after the Caochangdi Weekend Online Bilibili Streaming on 24 September 2021
- Launch Event for Issue 2 of Chinese Independent Cinema Observer ‘Prehistory of Chinese Independent Cinema’
- Festival Shadows 2010
- Wu Wenguang’s Film Notes 31: Circle of Life – Zhang Mengqi’s Self-Portrait: Born in 47 KM
- Issue 2: Pre-History of Chinese Independent Cinema
- 吴文光影像笔记30：涂海燕的告别
- Camp Culture in China
- CIFA’s Participation in Made in China Festival, France
- Wu Wenguang’s Film Notes 29：Instead of Throwing Stones at a Cesspit, Turn around and Plant a Tree
- Wu Wenguang’s Film Notes 28: Reading the Village: Memory → Fear, Ruins, Relics, Growth, Flight
- Hong Kong Lesbian and Gay Film Festival: from the Perspective of a Female Programmer, An Interview with Lillian Liu
- Wu Wenguang’s Film Notes 27: Zhang Huancai
- Wu Wenguang’s Film Notes: Screening Investigating My Father in Songzhuang
- Wu Wenguang’s Film Notes 25: Women’s Rise and Fall
- Using Films and A Pleasure-Based Approach to Tackle Discrimination: He Xiaopei in Conversation
- Wu Wenguang Film Notes 24: Image as Writing: Fiction, Everything and Nothing
- Wu Wenguang’s Film Notes 23: Image as A Kind of Writing →From the Novel
- Wu Wenguang’s Film Notes 22：A Cat and the Everyday, Conversation is the Way
- Wu Wenguang’s Film Notes 21: Memory, Exploration and Detail
- Wu Wenguang’s Film Notes 20: Flying
- Feng Yan’s Encounters (Japan, Documentary, Those People and Those Events)
- ‘Queer is Our Purpose’: An Interview with CINEMQ
- Poster of 1st Beijing Gay&Lesbian Culture Festival
- Wu Wenguang’s Film Notes 19：Yu Shuang’s Huangpo Tan
- Exploring Queer Women’s Space: An Interview with Shi Tou
- Wu Wenguang Film Notes 18: Overcoming Fear and Fly – Watching the First Cult of Lolo’s Fear
- Launch Event for the Bilingual Journal Chinese Independent Cinema Observer & Online Forum “Sino-Japanese Connections in Independent Film Cultures”
- Launch of the Inaugural Issue of the Journal of the Chinese Independent Cinema Observer
- Issue 1 Sino-Japanese Connections in Independent Film Cultures (1989 – 2020)
- Issue 1 Sino-Japanese Connections in Independent Film Cultures (1989 – 2020)
- Wu Wenguang’s Film Notes 16: A Legend – Watching the First Cut of Yu Shuang’s New Film The Old Sister of Huangpotan
- Wu Wenguang Film Notes15：Editing Team ——Summary of the work of the Folk Memory Project 2020 II
- Wu Wenguang’s Film Notes 14: Footage Workshop
- Wu Wenguang’s Film Notes 13: Gao Ang and Her Jiaoxing Village II
- Wu Wenguang’s Film Notes 11: Gao Ang and Her Jiaoxie Village: Looking Back
- Wu Wenguang’s Film Notes 11: Landing
- Image becomes writing, freedom is a verb – Writing for the Opening of the “Image Writing” Workshop Notes 5: Premiere
- Raising East and Southeast Asian Queer Visibility in the UK: An Interview with Queer East
- Image becomes writing, freedom is a verb – Writing for the Opening of the “Image Writing” Workshop Notes 4: Constitution
- Feng Yan’s Encounters (Japan, Documentary, Those People and Those Events)
- Chinese Independent Filmmakers and Artists through the Lens of Norman A. Spencer
- Image becomes writing, freedom is a verb – Writing for the Opening of the “Image Writing” Workshop Notes 3: Pathway
- Reel China Documentary Biennial from 2006 – 2019
- Image becomes writing, freedom is a verb – Note 3: Direction
- Image becomes writing, freedom is a verb – Writing for the opening of the “Image Writing” workshop
Note 2: Direction
- Image becomes writing, freedom is a verb ——Writing for the Opening of the “Image Writing” Workshop
- Inside/Out: LGBTQ+ Representation in Film and Television – Yutaka Kubo
- Shao Images and Shao’s Expressionism
- A Self-portrait of A Dancer And the Story of Three Generations of Women
- CIFA Website Launch Event Series: Independent Film Criticism in China 16 January 2021
- CIFA’s YouTube Channel
- Sha Qing’s Lone Existence: Thinking Activates Memory
- Interview with Li Wake
- From Queer Comrades to Queer University: An Interview with Xiaogang Wei
- Shao Yuzhen, A Woman Who Uses DV as A Weapon
- Interview with Popo Fan
- Treating and Me
- Wu Wenguang’s Film Notes
- CIFA Website Launch Event Series: I See the World through the Lens of My Camera, Photography Exhibition by Norman A. Spencer 5 December 2020
- Orphan Film
- Playlist: Queer Cinema from Mainland China
- Queer Culture in 1990s Beijing: An Interview with Susie Jolly
- Chinese Queer Documentaries in a Transnational Context
- The 7th Beijing Queer Film Festival
- The 6th Beijing Queer Film Festival
- The 5th Beijing Queer Film Festival
- The Chinese LGBT Film Festival
- The 3rd Beijing Queer Film Festival
- The 2nd International Gay&Lesbian Film Festival
- 1st Beijing Gay&Lesbian Culture Festival
- Gaze of Exile: Witnessing Chinese Independent Documentary
- The Dignity of the Cinema: The Cultural Revolution Narrative in Chinese Films of the 1980s
- ‘Creating an Experimental Space for Queer People in the Global South’: An Interview about the African Queer University Programme
- Interview with Pan Jianlin
- CIFF10
- HUI
- Rejection / Determination 2017
- CIFF9
- CIFF2
- CIFF3
- 第四届CIFF
- CIFF5
- CIFF6
- CIFF 7
- CIFF 8
- The Local and the Global in Chinese Queer Cinema
- Chinese Queer Cinema as Independent Cinema
- The Queer Feminist Aesthetics and Politics of Women 50 Minutes
- Images in Exile: Essays on Wenhai’s Documentaries
- Border: The Travels in China’s Inland Frontier
- SanLi Dong: A Visual History of Migrant Miners from Shanghai
- Documentary and China’s Modernity
- The Spirit of Contract in Chinese Independent Documentary
- Politics of Film and Cultural Dilemma of Chinese Cinema
- The Emerging Subjectivity: Observations on Chinese Independent Documentary in the Past 20 Years
- Memory Preservation and Self-empowerment
- Ou Ning and U-thèque
- In the Year of 2000: Past Stories of the Practice Society
- Local Narrative and the Glory of Documentary 2009
- Moralised Image: Hu Jie Films
- New Nomad Films of Xu Tong
- Imagery of Hong Kong: Impression on Hong Kong Independent Cinema
- Film Illuminating Social History: from Tiexi District to West of the Tracks
- Cinematic Tibetan and Tibetan Cinema
- On Zhu Chuanming’s Films: The Second Meet with Reality
- Mi Jishan’s 1980s: The Prequel of Chinese Independent Cinema
- Chinese Independent Film From a Modernity Perspective 2014
- Film as Testimony
- Can we ask for more?
- Yamagata International Documentary Film Festival and Chinese Independent Cinema
- On Get it Louder: What Can We Expect from Independent Films?
- Interview with Wang Bing: I’m a Conservative.
- On Three Sisters: Burning Somewhere
- A Portrait of Wang Bing
- Interview with Wang Bing: To be More Inclusive of History
- Interview with Wang Bing: I’m Not Interested in Politics
- Interview with Wang Bing: The Sense of History and Destiny
- Power of the Camera As a Tool
- Unlimited Image: The Status of Chinese Independent Cinema since the Late 1990s
- Documentaries Made by Filmmakers Born in the 1980s
- Freedom is Indivisible
- Archiving Queer Feelings: Queer Representations in Cinema (2015)
- Fear of A Queer China (2018)
- Freddie Mercury in China (2019)
- Homosexuality, Social Media Activism, and the Future of a Queer China
- Queer Filmmaking in the People’s Republic of China (2016)
- Queer Chinese Art and Performance in a Time of Viral Contagion: Review of Queering Now, Chinese Arts Now, London, 2020
- ‘Wildebeests Crossing the Mara River’: Locating Media and Communications in the Global South (2012)
- Queer Films and the Construction of Tongzhi Identities and Communities: Research Notes on the First China Queer Film Festival Tour
- In Memory of Eve Sedgwick: In Defence of ‘Sissy Boys’
- Judith Butler and Gender Trouble
- ‘Gay Asians Have to Speak for Themselves, and Loudly.’ An Interview with Wayne Yung (2012)
- Rejection/Determination 2018
- Post #1747
- The Meet
- Rotation of Season
- blog test
- gallery test
