Journal of Beijing Film Academy - Beijing Film Academy 2018

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Beijing Film
Academy Yearbook
2018

Beijing Film Academy Yearbook
2018

E DITED BY

Journal of Beijing Film Academy

First published in the UK in 2021 by

Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First published in the USA in 2021 by

Intellect, The University of Chicago Press, 1427 E. 60th Street,

Chicago, IL 60637, USA

Copyright 2021 Intellect Ltd

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.

A catalogue record for this book is available from the British Library.

Copy editor: Emma Rhys

Cover designer: Alex Szumlas

Production manager: Jessica Lovett

Typesetting: Newgen

Translation: Dr Hiu Chan and Alvin Li

Print ISBN 978-1-78938-159-7

ePDF ISBN 978-1-78938-160-3

ePUB ISBN 978-1-78938-161-0

To find out about all our publications, please visit www.intellectbooks.com

There you can subscribe to our e-newsletter, browse or download our current catalogue,and buy any titles that are in print.

Contents

Wang Yao

Zhao Weifang

Wu Guanping

Li Zhenlin and Cheng Gong

Yi Yuxiao

Wan Chuanfa

Huang Mingfen

Wu Guanping

Chen Yanjiao

An Yan

The practice of delivering clear and accurate English representation of Chinese names has always been a challenge in translation. Many different attempts have been made, but an agreed format has yet to be established. The Intellect China Library series has also been experimenting with different methods of translation since its inception, in order to determine the clearest representation to our readership, both with or without knowledge of the Chinese language.

Most English representations of Chinese characters in this volume are based on their Mandarin pronunciation. An endnote with the original characters will be included at the end of each article, if necessary, for the clarification of specificities.

Initiated by Mark Lewis, Managing Director of Intellect and Professor Wu Guanping, Editor-in-Chief of the Journal of Beijing Film Acacademy, this is the third publication of the Beijing Film Academy Yearbook project, as part of the Intellect China Library series.

What this particular project aims to do, is in a hope to enhance a cross-cultural academic conversation on the research on cinema, through introducing the latest research on cinema by Chinese scholars to Intellects readers. Any academic translation project is not easy, our BFA Yearbook in English is still learning and developing. As an annual practice, articles are selected at the end of each year by the Beijing Film Academy Yearbook editorial board, they are then translated and compiled into a volume in English. The only regret we have of this project is its slight delay in publication; each Yearbook is approximately one year behind the materials original release, due to the process of translation, editorial and production. However, this is a necessary period, from the series editor and the publishers point of view, in order to ensure its quality.

Indeed, some of the contents in these Yearbooks are more like a piece of criticism rather than a style which follows a standard peer-reviewed article. What these translated materials can offer to scholars who work in English-language academia, however, is their domestic insights, opinions, commentaries, industrial updates which will open many new opportunities and ideas toward the research of Chinese cinema and cinema in general. It is the belief of the Intellect China Library series, that only through translating outstanding research and writing by Chinese scholars into English, may we achieve a cross-cultural intellectual dialogue and mutual understanding. Beijing Film Academy Yearbook is only at the beginning of this ambition, and the wider project.

Beijing Film Academy Yearbook 2017 would not have been possible without the commitment of Dr Hiu Chan and Alvin Li, translator of this volume; Jessica Lovett from Intellect, production manager of this project; Aleksandra Szumlas, designer of the book cover; and finally Beijing Film Academy, for their trust and faith in Intellect to deliver their academic voices to the globe on their behalf.

Turing Limitations into Style:
An Interview with Qiao Liang, Director of Crested Ibis

Wang Yao

(, Wang Yao):	First of all, congratulations on your Crested Ibis (/ Yuan Shang, 2017) for winning the Golden St George Prize at the 39th Moscow International Film Festival(2018). This is the highest achievement of any Chinese submission to the film festival in its history.
(, Qiao Liang):	Thank you.

Wang:	Looking at your filmography, you seem to have worked on more TV series and TV films than silver screen titles, with Crested Ibis being your third film. How do you select your film projects?
Qiao:	In my work, I never really think about those categories; the only criteria that guides my selection is whether I like the project or not. If I do [like it], I will start working on it, no matter whether its a made-for-television movie or a feature film. I also sense a widespread prejudice against television movies today. Many audiences believe that a film only deserves that classification if it hits the silver screen, and if its distributed through any other channel its not a film. By that logic, even Kielowskis Dekalog (198990) wouldnt count as a film series. This method of categorization is really problematic. So, in this regard, I treat all my projects equally; I do not exert any more effort on films made for theatrical release. I also dont think that films are, by default, more sophisticated than television shows. There are as many lousy films as really well-made television shows out there. Im just shooting what I like, on subject matters that I choose to talk about. I do not make my choices based on these categories.
Wang:	The scale of investment and the distribution channel also affect certain aspects of a film. Some scholars (Yu Chen, 2011) conducted research to compare the audio-visual language of web series and web films with traditional television shows and films made for theatrical release, and they discovered differences in the number of close-up shots, the framing techniques and the rhythm of the editing, among other aspects. They consider the distribution channel to be the main cause of these differences. Have you thought about this?
Qiao:	Of course. What I just said relates to my modus operandi: if Im interested in a project or if I feel like I have something to say about it, I wont have a bias towards any form in particular. However, when it comes to production methods and techniques, certainly there are differences between big screen and small screen productions. This is something that took a while for me to realize. When I was studying at the Beijing Film Academy, I was trained exclusively in film, so in terms of pre-production, I have always worked in a more filmic tradition. When I first started working on television movies, my instructors at the television movie channels often told me that the pace of my works was too slow. Later, when

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