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IMAF Presentation – Chinese Film After the Cultural Revolution

May 10, 2012 3:30 pm
May 10, 2012 6:30 pm
IMAF 2012
The Guild
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111 Queen St., Charlottetown, PE, Canada, C1A 1H7

Join Media Arts Professor Emeritus George Semsel and Yang Jing as they explore the fascinating history and expression of the Chinese film after the cultural revolution. A special IMAF presentation.

  • This presentation takes place Thursday May 10th from 3:30-6:30pm at The Guild in Charlottetown.
  • For more information call (902)892-3131 or email davewardchtn@gmail.com

Professor Emeritus George S. Semsel taught for more than forty years, most of them in the Ohio University School of Film. Dr. Semsel earned his interdisciplinary doctorate at the Ohio State University, combining studies in photography and film with studies in curriculum development in higher education.  He has a B.A. in literature from Wagner College and holds an M.A. from the University of Iowa Writers Workshop, and a second, in film studies, from New York University, where he managed The Drama Review. An experimentalist given to personal autobiographical works akin to poetry, he has been making films since 1953. During the Underground Film Movement of the 1960’s, he was associated with Marie Menken and Willard Maas in the Gryphon Film Group. In the late 1960’s, he moved to PEI where he taught film at Prince of Wales College, sparking and inspiring a generation of Island filmmakers, here on PEI, an experience, which for him, seeded a pivotal turn in his own life as a filmmaker. In 1984, Dr, Semsel spent a year working in the Chinese film industry, then under the Ministry of Culture, and has frequently returned to the People’s Republic to lecture on film. His first Fulbright sent him to Thailand, and his second had him teaching modern American literature and film at Shandong University. A leading pioneer of Chinese film studies, Dr. Semsel published his first book [in English] on the subject, following the cultural revolution, and again with colleagues, in two more publications, thus introducing Chinese film theory to North America. He still maintains contacts with Chinese filmmakers [young and old] around the world.

Yang Jing worked for many years as a cinematographer for the Ministry of Water Resources in China, a position which took her to all of the regions of the country. She was involved in the making of many documentary films and videos, including the award-winning Canadian documentary Nu Shu: The Hidden Language of Women. Though primarily a cinematographer, as part of the film/video unit within the Ministry, she also found herself writing scripts and directing, as well as serving as a still photographer depending upon the situation.  During her seventeen years at the Ministry she worked on more than forty productions of diverse nature. Living now in North America, she  still maintains contacts with mainland Chinese filmmakers. These contacts as well as recent experiences back in China, have allowed her to witness a new generation of ‘unofficial’ media artists, who, with help of the Lixianting’s Film Fund, have spawned a non-official, or, independent movement in Beijing , active in their expression, producing and screening.


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