Abstract
Practical film education in the People’s Republic of China (PRC) is growing fast and has reached, by some indications, a moment of crisis as well as of great potential for development and transformation. In fact, the large number of institutions offering practical training, their rich history, and their diverging approaches cannot be fully covered in a single chapter. Speaking of members of the International Association of Film and Television Schools (CILECT) alone, there are four members in the PRC (not including Hong Kong). An ever-increasing number of universities and schools at the national and provincial levels teach some version of media production, hopping on a bandwagon of student demand, fueled by the explosion of visual media venues.1
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Notes
For comprehensive surveys of film education in the PRC, see Ji Zhiwei, et al., eds., Zhongguo dianying zhuanye shi yanjiu: Dianying jiaoyu juan [Historical Studies in the Chinese Film profession: Volume on Film Education] (Beijing: Zhongguo dianying chubanshe, 2011);
Zhang Huijun, et al., eds., Chuancheng yu shuli: Gaodeng dianying hiaoyu yanjiu [Transmission and Grooming: Studies in Higher Education in Film] (Beijing: Zhongguo dianying chubanshe, 2006).
Zhong Dafeng, ed., The Status Quo and Trends in International Film Education: Beijing 2008 Interviews on CILECT Film Education (Beijing: BFA internal publication, n.d.); BFA official website, http://www.bfa.edu.cn (accessed August 1, 2011).
On BFA, see Stéphane Bergouhnioux and Jean-Marie Nizan, A l’intérieur du cinéma chinois (TV documentary, Cinétévé, 2008);
Lu Hua, ed., Dianying ren de chengzhang: Beijing dianying xueyuan bodaoxi zhuren zhi xueyuren tan [Growing to Be Filmmakers: Talks with BFA Department Heads and Pedagogs] (Beijing: Zhongguo dianying chubanshe, 2007);
Lu Meng, Beijing Dianying xueyuan zhi [BFA Gazette] (Beijing: Beijing dianying xueyuan, 2000);
Sun Xin and Gao Yu, eds., Shi shuo: Beijing dianying xueyuan boshisheng daoshi fangtan lu [Teachers Speak: Interviews with Ph.D. Advisors at BFA] (Beijing: Zhongguo dianying chubanshe, 2010);
Zhang Huijun, et al., eds., Dianying Yaolan: Beijing dianying xueyuan de xiandai tonghua [The Cradle of Cinema: The Modern Fable of BFA] (Beijing: Zhongguo qingnian chubanshe, 2010).
Ni Zhen, Memoirs from the Beijing Film Academy: The Genesis of China’s Fifth Generation, trans. Chris Berry (Durham and London: Duke University Press, 2002).
See also Paul Clark, Reinventing China: A Generation and Its Films (Hong Kong: The Chinese University of Hong Kong, 2005).
Maya E. Rudolph, “Chinese Cinema’s Future Faces: The Power of the Old School,” http://dgeneratefilms.com/critical-essays/chinese-cinemas-future-faces-the-power-of-the-old-school/#more-7169 (accessed August 1, 2011).
Jianying Zha, Tide Players: The Movers and Shakers of a Rising China (New York, NY: New Press, 2011), 97–137.
Ying Liang, “Nothing about Cinema, Everything about Freedom,” http://dgeneratefilms.com/china-today/nothing-about-cinema-everything-about-freedom-by-ying-liang/# more-9872 (accessed May 20, 2012).
Mette Hjort, “Dogma 95: A Small Nation’s Response to Globalisation,” in Purity and Provocation: Dogma 95, ed. Mette Hjort and Scott MacKenzie (London: British Film Institute, 2003), 31.
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© 2013 Mette Hjort
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Braester, Y. (2013). Film Schools in the PRC: Professionalization and its Discontents. In: Hjort, M. (eds) The Education of the Filmmaker in Europe, Australia, and Asia. Global Cinema. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137070388_11
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DOI: https://doi.org/10.1057/9781137070388_11
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