Please use this identifier to cite or link to this item: http://bura.brunel.ac.uk/handle/2438/8796
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dc.contributor.authorRugo, D-
dc.date.accessioned2014-07-29T10:11:57Z-
dc.date.available2014-07-29T10:11:57Z-
dc.date.issued2013-
dc.identifier.citationAsian Cinema, 24(2), 2013en_US
dc.identifier.issn1059-440X-
dc.identifier.urihttp://www.ingentaconnect.com/content/intellect/ac/2013/00000024/00000002/art00005en
dc.identifier.urihttp://bura.brunel.ac.uk/handle/2438/8796-
dc.descriptionThis is the author's accepted manuscript. The final published article is available from the link below. Copyright @ 2013 Intellect Books.en_US
dc.description.abstractThis article identifies and elaborates on two models of resistance evident in JiaZhangke’s film corpus. The deployment of different cinematic strategies produces an experimental calling into question of the value of truth and of truth as value. In the films here analysed Jia moves from resistance through organic observation to a model of resistance structured around a series of fabulations. If the first regime addresses the truth of ideology, then the target of the second is the ideology of truth. It is in this passage that Jia enters political cinema, collapsing the distinction between factual and fictional and opening up a space that belongs to no collectivity.en_US
dc.language.isoenen_US
dc.publisherIntellect Booksen_US
dc.subjectJia Zhangkeen_US
dc.subjectI wish I knewen_US
dc.subjectUselessen_US
dc.subjectTruthen_US
dc.subjectResistanceen_US
dc.subjectBadiouen_US
dc.subjectDeleuzeen_US
dc.titleTruth After cinema: The explosion of facts in the documentary films of Jia Zhangkeen_US
dc.typeArticleen_US
dc.identifier.doihttp://dx.doi.org/10.1386/ac.24.2.195_1-
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