Skip to content
Posts by category
- Category: Event
- Category: Event Reports
- Category: News
- Category: Uncategorised
- Launch Roundtables
- Launch Symposium: The Exhibition and Circulation of Chinese Independent Films
- Chinese Independent Film Archive 华语独立影像资料馆(CIFA) Launch Programme
- Launch Exhibition: China Through an Independent Lens
- Launch Poster Exhibition: Chinese Independent Film Posters by Wang Wo
- Launch Film Series: Chinese Independent Cinema Today
- Wu Wenguang’s Film Notes 124: Creation and Continuity 9: Why Create – Luo Luo’s Companionship
- Wu Wenguang’s Film Notes 123: Creation and Continuity 9: Dripping Water
- Wu Wenguang’s Film Notes 122: Reading Village 12: Growth and Transcription
- Wu Wenguang’s Film Notes 121: Reading Village 11: Winter and Listening
- Wu Wenguang’s Film Notes 103: Missing Person’s Notes: Hao Yongbo I
- Wu Wenguang’s Film Notes 105: Missing Person’s Notes: Hao Yongbo III
- Wu Wenguang’s Film Notes 106: Missing Person’s Notes: Hao Yongbo IV
- Wu Wenguang’s Film Notes 107: Missing Person’s Notes: Hao Yongbo V
- Wu Wenguang’s Film Notes 108: Missing Person’s Notes: Hao Yongbo VI
- Wu Wenguang’s Film Notes 109: Missing Person’s Notes: Hao Yongbo VII
- Wu Wenguang’s Film Notes 110: Missing Person’s Notes: Hao Yongbo VIII
- Wu Wenguang’s Film Notes 111: Remembering Zhang Yuan
- Wu Wenguang’s Film Notes 112: “Precipitation” – Zhang Mengqi’s Tenth Work “47 Kilometers”
- Wu Wenguang’s Film Notes 114: Yu Shuang’s ‘Hair of Huang Potan’
- An Investigative Report on ‘Xu Quixote Tong’
- Lin Xin: The Local History of a Small Northwestern Town
- Gu Tao: Breaking Out Between ‘The Missing Father’ and ‘The Vanishing Ethnic Group’
- Qiu Jiongjiong: Playfulness is A Serious Matter
- Hu Xinyu: I Want to Dig Something Out through Making Documentaries
- Zhang Zanbo: One Person’s Destiny Is Not Convincing Enough
- Wang Jiuliang: I Want to Be a Dog that Bites
- Liu Dedong: To Present What is Left out of the Subject Matter
- Du Haibin: The Significance of the Documentary Emerges Slowly
- Zhao Liang: I Don’t Want to Shoot at People’s Faces Anymore
- Li Yifan: I AM Anti-Dramatic at Heart
- Li Xianfeng and Jia Kai: Back to Direct Reality and the Image
- Fan Jian: The Broken Routine
- Nanfu Wang: I Don’t Want to Accept Things Passively
- Yang Lina: My Life Experience Made Me A Feminist
- Ji Dan: Every Subject That I Have Filmed Gives Me Power
- Sisyphus-Style Documentary Filmmaker: Interview with Hu Jie
- Jiang Yue: Keeping Respect for the Term ‘Documentary’
- Introduction Contemporary Chinese Documentaries: Building a New Independent Cultural Tradition
- Issue 5: The Chinese Independent Documentary Movement Revisited
- I See the World through the Lens of My Camera
- Wu Wenguang’s Film Notes 98: Born in the 1950s and 1980s
- Wu Wenguang’s Film Notes 100: Xu Tong’s Wheat Harvest
- Wu Wenguang’s Film Notes 101: Guo Xizhi’s Mouthpiece
- Wu Wenguang’s Film Notes 102: Zhou Hao’s Using
- Her, Me, and Us: Women Arts Festival, Yunnan, 2022
- Wu Wenguang’s Film Notes 84: Notes on the Missing Luo Bin 7
- Wu Wenguang’s Film Notes 95: Notes on the Missiong Luo Bin 8
- Wu Wenguang’s Film Notes 96: Editing ‘Monument’
- Wu Wenguang’s Film Notes 88: Notes on the Missing Luo Bing 1
- Wu Wenguang’s Film Notes 89: Notes on the Missing Luo Bing 2
- Wu Wenguang’s Film Notes 90: Notes on the Missing: Luo Bing
- Screening Indie Chinese Films in Berlin: An Interview with the C/LENS Curator Echo Tang
- Wu Wenguang’s Film Notes 82: Reading the Village: The Light of Details
- Wu Wenguang’s Film Notes 83: Reading Village 4: A Cat and Everyday Life
- Wu Wenguang’s Film Notes 85: Reading Village 6: Illuminating
- Wu Wenguang’s Film Notes 85: Reading Village 7: The Spooky Heiqi Village
- C/LENS Indie Chinese Cinema Week 2022: Female Gaze and Subaltern Speak in Contemporary China
- Wu Wenguang’s Film Notes 80: Creation and Continuity (7): Stagnation
- Wu Wenguang’s Film Notes 81: Reading Village 1 Memories, the First Door into the Village
- Self-questioning of Writing
- How large is the community?
- Wu Wenguang’s Film Notes 73: Notes on Missing People Wang Hongjun (1)
- Wu Wenguang’s Film Notes 73:Notes on Missing People Wang Hongjun
- Wu Wenguang’s Film Notes 74: Notes on Missing People Wang Hongjun (2)
- Wu Wenguang’s Film Notes 75: Notes on Missing People: Xie Lina
- Wu Wenguang’s Film Notes 76: Notes on Missing People Yan Junjie
- Wu Wenguang’s Film Notes 77: Creation and Continuity (4) Looking for the Core
- Wu Wenguang’s Film Notes 78: Creation and Continuity (6): Passage
- Wu Wenguang’s Film Notes 79: Creation and Continuity (6): Discernment
- Male Privacy in the Gaze of the Crowd – Revisiting Wei Xiaobo’s Documentary
- CIFA合作举办“中国制造”影展，法国雷恩
- Biographies
- Biographies
- Biographies
- Biographies
- ‘We’re Asians, Gay and Proud’: An Interview with Daniel C. Tsang
- Question for THE RAW AND THE COOKED: An Interview with Lisa Marie MALLOY and Dennis ZHOU
- Interview with Ma Li马莉: Filmmaking Is A Process of Self-subversion
- The Ecological and Archival Nature of Rural Images
- Interview with Yu Guangyi于广义: The Most Primitive Approach to Filming, and the Use of the Simplest Visual Language
- ‘Even in Documentaries, Creative Expression is Important’: Interview with XU Ruotao
- Grand Closing of ‘Wu Trilogy’ and ‘You Trilogy’: The Waxing Moon
- An Escape from the Existing Principles: From Man vs. Machine to Dogma and Exaggeration
- Along the Path Provided by Lockdown
- World Picture: Xu Bing’s Dragonfly Eyes (2017)
- Some Notes
- Some Notes on The Choice
- The Story of a Well
- A Female Perspective on the Production of Tibetan Anthropological Documentaries
- Cinema As an Absolutely Impure Art and the Neglected Impurity and Beyond: A Pessimist’s Observations and Reflections of Contemporary Art
- The Death of My Father: A Diary
- Documentaries about People
- From The Dictionary of Soul to The Workshop
- Changes in the Fields: Reflections on My Filmmaking in Gulang and Beijing
- The Hybridity of Chinese Independent Cinema: Documentary, Contemporary Art, Anthropology and the Cross-border Camera
- Issue 4: Anthropology, Contemporary Art and Chinese Independent Documentaries
- Keyword: Memory
- About Along the Railway and Stories along the Railway (Abridged)
- Duan Jinchuan on No.16 Barkhor South Street and The Square
- Jiang Hu: Life on the Road. Q&A with Wu Wenguang by the Practice Society
- Deconstructing Tradition, Inheriting Tradition: A Conversation about Documentary
- Keyword: Subalternity | Giving Voice or Reinforcing Subalternity? Spatialising the Chinese Rural Subject in Falling from the Sky by Zhang Zanbo
- Keyword: Memory | Reading the Gospel in Miao: Christian Memories of Development in Songs From Maidichong
- Keyword: Feminism | Female Agency in Li Yu’s Lost in Beijing: From ‘Object of the Look’ to ‘Subject Who Looks’
- Keyword: Feminism | The DV Gaze before the Age of the Selfie: On Yang Mingming’s Female Directors (2012)
- Keyword: Independent | Independent as Affect: A Discussion of the Negotiation Scene in Bing’ai
- Keyword: Workshop | ‘Feelings guide the way, rational though lights the way’: My Workshop Notes
- Keyword: Public-Interest Images | My public-interest Films and Me
- Keyword: Pixelation
- Keyword: Individual | My Individual Creative Experience
- Keyword: Individual
- Keywords: Independence → Freedom → Activism
- Keyword: Independence | The Road to Independence
- Keyword: Censorship | The ‘Black Hand Army’ of the Silver Screen and ‘Work Honestly and You Will Have a Happy Life’: Two Memories of Film Censorship
- Keyword: Ethics
- Keywords: Ethics and Feminism | Desiring Feminism
- Keyword: Queer Moving Images
- Keyword: Migrant Worker
- Keyword: Memory
- Keyword: On-the-Spot
- Keyword: Grassroots Exhibition
- Keyword: Film Festival/Exhibition
- Keyword: Alternative Space
- Keyword: Chinese Independent | A Diaspora of Meaning
- Keyword: Independent
- Introduction: The Interdependence of Individual Practices
- To YAN Li and His Peers: Prototype for a New Generation
- A Brief Introduction to Beijing’s Stars Art Group
- Stars (Xing Xing) Exhibition: Photographs and Artwork
- Three Decades of The Trouble Shooters (1988): Witnessing, Pioneering, Exiting
- Who is in Control of Your Body? Female Body Consciousness and Female Bonding in the 1980s in Special Operating Room (1988)
- Femininity, desire and rebellion as taboos in the 1980s? Liu Xiaoqing’s characters in The Savage Land (1981) and Hibiscus Town (1986)
- Sketching a Dazzling Sun: A Film Review of Maples (1980)
- Yunnan: Another Thread in Chinese Documentary Filmmaking
- Where is the Echoing Wall of Poetry? —An Interview with Zhang Zhen
- Making Art is a Lifestyle Choice: My 1980s
- An Interview with SHI Jian
- An Interview with WEN Pulin
- Bumming in Rotterdam: Historical interactions between Chinese Independent Cinema and International Film Festival Rotterdam in the 1990s
- One Person’s Documentary Filmmaking History: My Opinion of Chinese Independent Documentaries
- Sixth Generation Filmmakers: Confused Nomenclature, Artistic Nourishment, and the Death Complex
- The Preconditions for Chinese Independent Cinema in the 1980s
- Nujiang and the Origin of Chinese Independent Documentary
- Ending or Starting – Researching the Fragments of the Pre-history of Chinese Independent Cinema
- The Birth of a Documentary: The Pre-History or Tale of Bumming in Beijing
- The 1980s: The Origins or Pre-History of Chinese Independent Cinema
- Queer Media in China: A Brief History
- “Embrace queerness!”: An Interview with Queer Squad
- ‘Think Like an Archipelago’——Regarding the Japanese-Chinese Independent Film Culture Connections (1989-2020)
- When Currents Collide: Chinese Independent Cinema and Japan
- Preface
- D Chinese Indie Films Screened in Japanese Film Festivals
- C Japanese Distributors of Chinese Indie films (incomplete)
- B Chinese Indie Films Distributed in Japan (incomplete)
- Out of the Closet and into the Sun?: The Politics and Experiences of Coming Out in Coming Out (2019)
- ‘The China that I Saw’ Documentary Series (2015, 2018): Breaking Down Differences through Dialogue
- China Blue (Lou Yi, 2016) Review: The Dual Lives of a Chinese Entrepreneur
- “Everybody lives as humble as an Ant”—An Online Interview with Filmmaker Ma Zhandong
- ‘My Spirit will keep Fighting for Justice’—The ‘Comfort Women’ Issue and the Responsibility to Respond in Give Me the Sun (2015)
- Ji Dan’s Spiral Staircase of Harbin (2008) and When the Bough Break (2011): The Clash of Individuals and Worlds
- “East Asia” In Miniature—From Border-Crossing To Understanding
- Alienated Spaces in Li Ying’s Zainichi Documentaries
- Alienated Spaces in Li Ying’s Zainichi Documentaries
- From Bumming in Beijing (1990) to At Home in the World (1995)—Idealism’s Voyage and Return
- A Chinese Indie Films Screened in Japan (incomplete)
- The Documentary Film Chokō (1981): A Journey Through The Past And Towards The Future
- 小川绅介与香港社会运动纪录片文化的关联——策展人与纪录片作者们的访谈系列
- Independent Documentary in China’s Feminist and LGBTQ+ Movements
- Wu Wenguang’s Film Notes 70: Notes on Missing People Nongke 2
- Wu Wenguang’s Film Notes 71: Notes on Missing People Nongke 3
- Ogawa Shinsuke’s Connections with Hong Kong’s Social Movement Documentary Culture –An Interview Series
- Document(ing), Creativity, and the Future of Chinese Independent Cinema: An Interview with Directors Huang Ji and Otsuka Ryuji
- Chinese Independent Documentary’s Hidden History With Japan: An In-Depth Conversation With Producer, Journalist NONAKA Akihiro
- Inter-Asia Referencing And Minor Transnationalism: The Dissemination Of Chinese Independent Queer Films In Japan
- The Liberty Coerced By Limitation: On Subtitling Fengming: A Chinese Memoir
- Encounters (Japan, Documentary, Those People And Those Events)
- Kunming, Yunnan: The Land Where Documentaries Begin To Dawn
- Time Traveling Through Asian Documentary’s Pasts And Futures
- The Spark That Lit The Fuse: Chinese Documentary Directors’ Encounter With Frederick Wiseman
- An Overview Of The Chinese Independent Documentary Screening Series In Tokyo
- The Creator-Led Za-Koenji Documentary Festival: Crossing Boundaries Of Film, Television, And Theater
- An ‘Independent’ Film Festival: The Story of the Chinese Independent Film Festival in Tokyo
- Celebrating A Diverse Chinese-Language Cinema Culture: Hiyoshi Festival Of Chinese Cinema At Keio University
- Transformations And Multiplicity: Chinese Cinema Through The Osaka Asian Film Festival
- Chinese Independent Cinema And The Tokyo Filmex International Film Festival
- Green Image Film Festival (グリーンイメージ国際 環境映像祭): The Oldest International Environmental Film Festival In Asia
- From Bumming In Beijing To Dead Souls…Thirty Years Of Chinese Independent Documentary At Yamagata International Documentary Film Festival
- From the Blue Kite to the ‘Dragon Seal’: Thirty Years of the Tokyo International Film Festival and Chinese Cinema
- jhksalfhksal
- Wu Wenguang’s Film Notes 69: Notes on Missing People: Nongke 1
- Wu Wenguang’s Film Notes 65: Reading Material 6: Location – Construction – Naked
- Wu Wenguang’s Film Notes 66: Reading Material 7: Statement – Penetration – Reading
- Wu Wenguang’s Film Notes 67: Reading Material 8: Intensive Reading-Building (continued)
- Wu Wenguang’s Film Notes 64: Reading Material ⑤: Life and Death – Stage – Poison
- Studies of Queer Chinese Filmmakers: Fan Popo
- Accepting the Fate That Fell from the Sky: the Origin of Falling From the Sky and the Director’s Statement
- Chinese Queer Cinema: A Very Brief History
- Underground Vein Stretching Across The Sea: Showcasing Personal/Experimental Chinese Films In Japan In The Context Of Image Forum
- Chinese Independent Cinema Observer Launch Statement
- Production and Distribution Companies
- Wu Wenguang’s Film Notes 62: Reading material 3: Reading Faces, Hidden, Incidental
- Wu Wenguang’s Film Notes 63: Reading Material 4: Alive, Space, Shaw
- Wu Wenguang’s Film Notes 64: Reading Material 5: Life and Death – Stage – Poison
- Wu Wenguang’s Film Notes 56: Reality and Brutal Poetry – Zhang Huancai’s My Village 2006
- Wu Wenguang’s Film Notes 57: Born to Live — Zhang Mengqi’s film Self-Portrait: Born in 47 km
- Wu Wenguang’s Film Notes 58: The 47km Stare — Zhang Mengqi’s Self-Portrait: 47km Sphinx
- 吴文光影像笔记60:阅读素材1：直观→土地，一只白狗及现实直观
- Wu Wenguang’s Film Notes 60: Reading Material 1: Intuition → Land, a white dog and the intuition of reality
- Wu Wenguang’s Film Notes 61: Reading Material 2: Intuition → A Lunch and Wiseman
- Wu Wenguang’s Film Notes 54: Behind “Unnatural Death” — Zhang Mengqi, Self-Portrait: The Death of 47km
- 吴文光影像笔记53: 愤怒的村子和愤怒的王伟
- 吴文光影像笔记49:独白——《度过》剪辑笔记3
- Wu Wenguang’s Film Notes 51: Shazi Ying, Remember! Shao Yuzhen My Village 2011-2016
- Wu Wenguang’s Film Notes 52: Images of the Earth – Zhang Huancai’s My Village 2006
- Call for Papers: Chinese Independent Cinema Observer Issue 6: Intermediality and Transmedia Storytelling in Chinese Independent Cinema
- Wu Wenguang’s Film Notes 48: Time – Editing Notes for “Getting Through” 2
- Wu Wenguang’s Film Notes 46: In Memory of Wong Ain-ling or an Era
- Wu Wenguang’s Film Notes: Under Siege – Editing Notes for “Getting Through” 1
- Wu Wenguang’s Film Notes 45：Creation and continuity (3): revision and motivation
- Wu Wenguang’s Film Notes 44: Creation and continuity ( 2): Experience – location – positioning
- Wu Wenguang’s Film Notes 42: Editing Notes for The Autobiography (1)
- Wu Wenguang’s Film Notes 43: Editing Notes for The Autobiography(2)
- Wu Wenguang’s Film Notes 40: Reading Memory
- Wu Wenguang’s Film Notes 38: Seven films, Seven Realities
- Wu Wenguang’s Film Notes 39: The Talk is the Road – Preface to “Walking on Earth: Follow-up Interviews and Survey Report on Contemporary Chinese Documentarians”
- Documentary: Memory Cyborgs and the History that Can be Experienced
- Wu Wenguang’s Film Notes 36: Facing Reality, Flying or Falling apart – Gu Tao’s Taming the Horse
- Wu Wenguang’s Film Notes 37: Portion and Enlargement – Zhu Shengze’s Another Year
- Yugo Sologong
- Siriguleng
- Melmii Borjigin
- Emetjan Memet
- Tawfiq Nizamidin
- Kangdrun
- Jigme Trinley
- Meet the Filmmakers
- Meet the Filmmakers
- Looking for ugo—Forest, Snow, and Footprints
- Modern Murmurings of New Ethnic Minorities
- Wu Wenguang’s Film Notes 34: Creation and Continuity (1): Choice – Fixation – Theatre
- Communist Successor Wu Haohao
- Zhu Rikun’s new film No Desire to Hide (2021) and New Column about its Protagonist
- Post-screening – Written after the Caochangdi Weekend Online Bilibili Streaming on 24 September 2021
- 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
- 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
- ‘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”
- 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
- Reassessing Chinese Independent Cinema: Past, Present… and Future?
- 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
- 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 Film 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
