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of course the seventh art “movie picture”. Chinese cinema is not an exception, although, only recently it seems, did it acquire, thanks to many awards competitions held around the world, its global fame. Historians of recent Chinese cinema agree on the best way to narrate its development not by “periods” of its growth but by “generations” of movie-makers. The article of this section examines the notion of the “film-makers generation” and discusses what it carries in its background. Liu Wu, a PhD student in the Department of East Asian Studies at the University of Toronto, examines first what is at stake when one tries to interpret the generations of film-makers. The “seventh art” can easily become, through symbols and narratives, “the art of witnessing” history.
The Editor |
