Editing Cinema of China (section)

==Generation-independent movement==

There is a growing number of independent seventh or post-Sixth Generation filmmakers making films with extremely low budgets and using digital equipment. They are the so-called dGeneration (for digital).<ref>{{cite web|url=http://ijoc.org/index.php/ijoc/article/viewFile/1219/719 |title=From D-Buffs to the D-Generation: Piracy, Cinema, and an Alternative Public Sphere in Urban China |website=Talari.com |date=2011-04-01 |access-date=2015-10-23}}</ref> These films, like those from Sixth Generation filmmakers, are mostly made outside the Chinese film system and are shown mostly on the international film festival circuit. [[Ying Liang]] and [[Jian Yi]] are two of these generation filmmakers. Ying's ''[[Taking Father Home]]'' (2005) and ''[[The Other Half (2006 Chinese film)|The Other Half]]'' (2006) are both representative of the generation trends of the feature film. [[Liu Jiayin]] made two dGeneration feature films, ''[[Oxhide]]'' (2004) and ''[[Oxhide II]]'' (2010), blurring the line between documentary and narrative film. ''Oxhide'', made by Liu when she was a film student, frames herself and her parents in their claustrophobic Beijing apartment in a narrative praised by critics. ''[[An Elephant Sitting Still]]'', considered one of the greatest film debuts in Chinese cinema, is also the only film by the late [[Hu Bo]].<ref>{{cite web|url=http://www.timeoutbeijing.com/features/Books__Film-Interviews__Features/28696/100-best-Chinese-Mainland-Films-the-countdown/9/30-21.html |title=100 best Chinese Mainland Films: the countdown |website=Timeoutbeijing.com |date=2014-04-04 |access-date=2015-10-23}}</ref>