Abstract
ABSTRACTIndependent documentary filmmaking in contemporary China offers an alternative vision to official, mainstream, and commercial productions. This essay shows how the practices of independent filmmakers constitute alternative perspectives by first exploring representations of the AIDS epidemic and AIDS orphans in China, and then by examining reconstructions of sociopolitical history silenced by official discourse and ignored in collective memory. Also discussed are gender politics in documentaries which use women as discursive or visual subjects and the question of why the perspective of gender remains marginal to the documentary film practices.
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