Editing Cinema of China (section)

==New documentary movement==
Two decades of reform and commercialization have brought dramatic social changes in mainland China, reflected not only in fiction film but in a growing documentary movement. [[Wu Wenguang]]'s 70-minute ''[[Bumming in Beijing: The Last Dreamers]]'' (1990) is now seen as one of the first works of this "[[New Documentary Movement]]" (NDM) in China.<ref>{{cite magazine|url=http://www.sensesofcinema.com/2003/28/chinas_new_documentary/|title=Dancing with Myself,Drifting with My Camera: The Emotional Vagabonds|magazine=Senses of Cinema|author=Reynaud, Berenice|date=September 2003|access-date=2007-12-10 |archive-url = https://web.archive.org/web/20071103202811/http://www.sensesofcinema.com/contents/03/28/chinas_new_documentary.html <!-- Bot retrieved archive --> |archive-date = 2007-11-03}}</ref><ref>{{cite news|url=http://www.sfgate.com/cgi-bin/article.cgi?f=/e/a/1998/03/05/STYLE6967.dtl|author=Krich, John|newspaper=[[The San Francisco Examiner]]|date=5 March 1998|title=China's New Documentaries}}</ref> ''Bumming'', made between 1988 and 1990, contains interviews with five young artists eking out a living in [[Beijing]], subject to state authorized tasks. Shot using a [[camcorder]], the documentary ends with four of the artists moving abroad after the 1989 Tiananmen Square protests and massacre.<ref>{{cite book | last = Chu | first = Yingchu| year = 2007 | title = Chinese Documentaries: From Dogma to Polyphony | url = https://archive.org/details/chinesedocumenta00chuy | url-access = limited | publisher = Routledge| pages = [https://archive.org/details/chinesedocumenta00chuy/page/n101 91]–92}}</ref> ''[[Dance with the Farm Workers]]'' (2001) is another documentary by Wu.<ref>{{cite book | last = Zhang | first = Yingjin| year = 2010 | title = Cinema, Space, and Polylocality in a Globalizing China | publisher = [[University of Hawaiʻi Press]]| page = 134}}</ref>

Another internationally acclaimed documentary is [[Wang Bing (director)|Wang Bing]]'s nine-hour tale of deindustrialization ''[[Tie Xi Qu: West of the Tracks]]'' (2003). Wang's subsequent documentaries, ''[[Fengming: A Chinese Memoir|He Fengming]]'' (2007), ''[[Crude Oil (film)|Crude Oil]]'' (2008), ''[[Man with no name (film)|Man with no name]]'' (2009), ''[[Three Sisters (2012 film)|Three Sisters]]'' (2012) and ''[[Til madness do us part|Feng ai]]'' (2013), cemented his reputation as a leading documentarist of the movement.<ref>{{Cite web|url=http://icarusfilms.com/other/filmmaker/wangbing.html|title=Icarus Films: Featured Filmmakers|website=icarusfilms.com|access-date=2020-01-28}}</ref>

[[Li Hong (filmmaker)|Li Hong]], the first woman in the NDM, in ''[[Out of Phoenix Bridge]]'' (1997) relates the story of four young women, who moving from rural areas to the big cities like millions of other men and women, have come to Beijing to make a living.

The New Documentary Movement in recent times has overlapped with the dGeneration filmmaking, with most documentaries being shot cheaply and independently in the digital format. [[Xu Xin (filmmaker)|Xu Xin]]'s ''[[Karamay (film)|Karamay]]'' (2010), [[Zhao Liang (filmmaker)|Zhao Liang]]'s [[Behemoth (2015 film)|Behemoth]], [[Huang Weikai]]'s ''[[Disorder (2009 film)|Disorder]]'' (2009), [[Zhao Dayong]]'s ''[[Ghost Town (2009 film)|Ghost Town]]'' (2009), [[Du Haibing]]'s ''[[1428 (film)|1428]]'' (2009), [[Xu Tong]]'s ''[[Fortune Teller (2009 film)|Fortune Teller]]'' (2009) and [[Li Ning (filmmaker)|Li Ning]]'s ''[[Tape (2010)|Tape]]'' (2010) were all shot in digital format. All had made their impact in the international documentary scene and the use of digital format allows for works of vaster lengths.