Abstract
This article analyses through a historic perspective the emergence of video art on the Chinese cultural scene. By examining and comparing traditional art practices with video art, the author demonstrates how the latter was conceived in China as a communication channel and became widely adopted. The richness and diversity of video art and, to a great extent, the empowering capacity of the medium became decisive in empowering younger audiences to experiment with a medium that was initially contaminated by neither commercial nor political interests.
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