Abstract
This essay studies Jia Zhangke's film, The World, in the light of Agamben's theory of dispositif and profanation. Jia and other independent film-makers in China use visualization to ‘profane’ dominant ideology in China in its complexity, contradictory and fragmentation. The open-endedness of film-making allows the director to politicize his work without falling into the trap of rigid dogma. The World is about localized migrant workers in the intensified process of globalization. As reality appears more fantastic than fantasy itself, the space of fantasy coincides with the death drive.
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