{"title":"变形场:毛的乡村媒介生态","authors":"B. Shaffer","doi":"10.1080/17508061.2019.1668584","DOIUrl":null,"url":null,"abstract":"Abstract This paper examines the recent moving image work of artist, researcher, and rice farmer Mao Chenyu, who has spent over a decade making ethnographically inflected documentary work in his village outside of Yueyang in Hunan Province. With his innovative approaches, which combine the visual idioms of the essay film, found footage collage, autodidactic philosophical reflections, and observational cinema, his work provokes a conceptual reevaluation of rural life and agrarian labor among China’s peasantry. Mao is the founder of Paddy Film Farm, a grassroots operation that serves as both an independent film studio, as well as a cottage industry for the production of organic rice and strong liquor. 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引用次数: 0
摘要
本文考察了艺术家、研究者、稻农毛晨宇最近的动态影像作品,他花了十多年的时间在湖南岳阳郊外的村庄拍摄了民族志纪录片。他的创新方法结合了散文电影的视觉习惯、发现片段拼贴、自学的哲学反思和观察电影,他的作品引发了对中国农民的农村生活和农业劳动的概念重新评估。毛是稻田电影农场(Paddy Film Farm)的创始人,这是一家草根企业,既是独立的电影制片厂,也是生产有机大米和烈酒的家庭手工业。通过他的实地人种学研究,他将自己定位为“本土人类学家”,并探索了知识生产和实验性叙事的新模式,这些模式在中国的小型地下电影放映、另类艺术空间和国家资助的博物馆等环境中得到展示。在本文中,我仔细阅读了毛的两部电影《我有什么?》《中国农民战争:正义的修辞》(2014)、《云爆:洞庭湖及其符号的死亡》(2015);2016年上海双年展的多媒体装置展,以及最近在上海M50艺术区a + Contemporary的个展;最后,分析了我在2015年至2017年期间与艺术家在上海和岳阳之间进行的民族志研究(参与者观察现场笔记、非正式访谈、文本分析、策划放映和讨论)。
Shapeshifting fields: Mao Chenyu’s rural media ecology
Abstract This paper examines the recent moving image work of artist, researcher, and rice farmer Mao Chenyu, who has spent over a decade making ethnographically inflected documentary work in his village outside of Yueyang in Hunan Province. With his innovative approaches, which combine the visual idioms of the essay film, found footage collage, autodidactic philosophical reflections, and observational cinema, his work provokes a conceptual reevaluation of rural life and agrarian labor among China’s peasantry. Mao is the founder of Paddy Film Farm, a grassroots operation that serves as both an independent film studio, as well as a cottage industry for the production of organic rice and strong liquor. Through his on-the-ground ethnographic research, he self-identifies as a “native anthropologist,” and explores new modes of knowledge production and experimental storytelling that are displayed in contexts ranging from China’s small circuit of underground film screenings to alternative art spaces and state-sponsored museums. In this paper, I draw on close readings of two of Mao’s films, I Have What? Chinese Peasants War: The Rhetoric to Justice (2014) and Cloud Explosion: Dongting Lake and the Death of Its Symbols (2015); multimedia installations at the 2016 Shanghai Biennial and a recent solo exhibition at A + Contemporary in Shanghai’s M50 Art District; and finally, on an analysis of my own ethnographic research (participant-observation field notes, informal interviews, textual analysis, and curated screenings and discussions) conducted with the artist between Shanghai and Yueyang from 2015 to 2017.