Everything remediated, everywhere curated, all at once: Readymade experience in the Chinese mediasphere

References

1. Adorno, Theodor W. and Horkheimer, Max ([1947] 2002), Dialectic of Enlightenment: Philosophical Fragments (trans. E. Jephcott), Stanford, CA: Stanford University Press.
   [Google Scholar]
2. Appadurai, Arjun (1996), Modernity at Large: Cultural Dimensions of Globalization, Minneapolis, MN: University of Minnesota Press.
   [Google Scholar]
3. Aufderheide, Patricia and Jaszi, Peter (2011), Reclaiming Fair Use: How to Put Balance Back in Copyright, Chicago, IL: University of Chicago Press.
   [Google Scholar]
4. Baron, Jaimie (2013), The Archive Effect: Found Footage and the Audiovisual Experience of History, New York: Routledge.
   [Google Scholar]
5. Baudrillard, Jean (1994), Simulacra and Simulation (trans. S. F. Glaser), Ann Arbor, MI: University of Michigan Press.
   [Google Scholar]
6. Bazin, André and Gray, Hugh (1960), ‘The ontology of the photographic image’ (trans. H. Gray), Film Quarterly, 13:4, pp. 4–9, https://doi.org/10.2307/1210183.
   [Google Scholar]
7. Bellour, Raymond (2000), The Analysis of Film (ed. C. Penley), Bloomington, IN: Indiana University Press.
   [Google Scholar]
8. Berry, Chris (2007), ‘Getting real: Chinese documentary, Chinese postsocialism’, in Z. Zhang (ed.), The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century, Durham, NC: Duke University Press, pp. 115–34.
   [Google Scholar]
9. Berry, Chris and Rofel, Lisa (2010), ‘Alternative archive: China’s independent documentary culture’, in C. Berry, L. Xinyu and L. Rofel (eds), The New Chinese Documentary Film Movement, Hong Kong: Hong Kong University Press, pp. 135–54.
   [Google Scholar]
10. Bolter, Jay David and Grusin, Richard (2000), Remediation: Understanding New Media, Cambridge, MA: MIT Press.
    [Google Scholar]
11. Braester, Yomi (2016), ‘The city as found footage: The reassemblage of Chinese urban space’, in J. Andersson and L. Webb (eds), Global Cinematic Cities: New Landscapes of Film and Media, New York: Columbia University Press, pp. 157–77.
    [Google Scholar]
12. Burgin, Victor (1996), In/Different Spaces: Place and Memory in Visual Culture, Berkeley, CA: University of California Press.
    [Google Scholar]
13. Burgin, Victor (1997), The Remembered Film, London: Reaktion Books.
    [Google Scholar]
14. de Certeau, Michel (1984), The Practice of Everyday Life (trans. S. Rendall), Berkeley, CA: University of California Press.
    [Google Scholar]
15. Chen, Jianqing (2021), ‘Ziyuan (资源): Film mining and cinephilic expedition and exploitation in twenty-first century China’, Journal of Chinese Cinemas, 15:2–3, pp. 164–75, https://doi.org/10.1080/17508061.2021.1989895.
    [Google Scholar]
16. Doane, Mary Ann (1980), ‘The voice in the cinema: The articulation of body and space’, Yale French Studies, 60, pp. 33–50.
    [Google Scholar]
17. Evnine, Simon J. (2013), ‘Ready-mades: Ontology and aesthetics’, British Journal of Aesthetics, 53:4, pp. 407–23, https://doi.org/10.1093/aesthj/ayt033.
    [Google Scholar]
18. Fujiki, Hideaki (2006), ‘Benshi as stars: The irony of the popularity and respectability of voice performers in Japanese cinema’, Cinema Journal, 45:2, pp. 68–84, https://doi.org/10.1353/cj.2006.0016.
    [Google Scholar]
19. Goldsmith, Steven (1983), ‘The readymades of Marcel Duchamp: The ambiguities of an aesthetic revolution’, The Journal of Aesthetics and Art Criticism, 42:2, pp. 197–208, https://doi.org/10.1111/1540_6245.jaac42.2.0197.
    [Google Scholar]
20. Gunning, Tom (1994), D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph, Urbana, IL: University of Illinois Press.
    [Google Scholar]
21. Hansen, Miriam (1991), Babel and Babylon: Spectatorship in American Silent Film, Cambridge, MA: Harvard University Press.
    [Google Scholar]
22. Hansen, Miriam (1999), ‘The mass production of the senses: Classical cinema as vernacular modernism’, Modernism/Modernity, 6:2, pp. 59–77, https://doi.org/10.1353/mod.1999.0018.
    [Google Scholar]
23. Hillenbrand, Margaret (2023), On the Edge: Feeling Precarious in China, New York: Columbia University Press.
    [Google Scholar]
24. Hua, Chaorong (2021), ‘Lapian (拉片): The disseminated professionalism and the co-constituted world’, Journal of Chinese Cinemas, 15:2–3, pp. 139–47, https://doi.org/10.1080/17508061.2021.1989842.
    [Google Scholar]
25. Hutcheon, Linda (1989), The Politics of Postmodernism, London: Routledge.
    [Google Scholar]
26. International Film Festival Rotterdam (2019), ‘Present.Perfect.’, https://iffr.com/en/2019/films/presentperfect. Accessed 15 July 2021.
27. Jameson, Fredric (1991), Postmodernism, or, The Cultural Logic of Late Capitalism, Durham, NC: Duke University Press.
    [Google Scholar]
28. Jenkins, Henry (2006), Convergence Culture: Where Old and New Media Collide, New York: New York University Press.
    [Google Scholar]
29. De Luca, Tiago and Jorge, Nuno Barradas (2016), Slow Cinema, Edinburgh: Edinburgh University Press.
    [Google Scholar]
30. Lacan, Jacques (1998), The Four Fundamental Concepts of Psychoanalysis (ed. J.-A. Miller, trans. A. Sheridan), New York: W.W. Norton.
    [Google Scholar]
31. Lacasse, Germain (2012), ‘The film lecturer’, in A. Gaudreault, N. Dulac and S. Hidalgo (eds), A Companion to Early Cinema, Malden, MA: Wiley-Blackwell, pp. 487–97.
    [Google Scholar]
32. Lamarre, Thomas (2017), ‘Platformativity: Media studies, area studies’, Asiascape: Digital Asia, 4:3, pp. 285–305, https://doi.org/10.1163/22142312-12340081.
    [Google Scholar]
33. Lessig, Lawrence (2008), Remix: Making Art and Commerce Thrive in the Hybrid Economy, London: Bloomsbury Publishing.
    [Google Scholar]
34. Manovich, Lev (2001), The Language of New Media, Cambridge, MA: MIT Press.
    [Google Scholar]
35. McLeod, Kembrew and DiCola, Peter (2011), Creative License: The Law and Culture of Digital Sampling, Durham, NC: Duke University Press.
    [Google Scholar]
36. Molesworth, Helen (1998), ‘Work avoidance: The everyday life of Marcel Duchamp’s readymades’, Art Journal, 57:4, pp. 50–61, https://doi.org/10.1080/00043249.1998.10791903.
    [Google Scholar]
37. Mulvey, Laura (2006), Death 24x a Second: Stillness and the Moving Image, London: Reaktion Books.
    [Google Scholar]
38. Nagel, Alexander and Wood, Christopher S. (2010), Anachronic Renaissance, New York: Zone Books.
    [Google Scholar]
39. Rodowick, David Norman (2009), The Virtual Life of Film, Cambridge, MA: Harvard University Press.
    [Google Scholar]
40. Valck, Marijke de and Hagener, Malte (2005), Cinephilia: Movies, Love, and Memory, Amsterdam: Amsterdam University Press.
    [Google Scholar]
41. Voci, Paola (2010), China on Video: Smaller-Screen Realities, London: Routledge.
    [Google Scholar]
42. Wang, Yiman (2005), ‘The Amateur’s lightning rod: DV documentary in postsocialist China’, Film Quarterly, 58:4, pp. 16–26, https://doi.org/10.1525/fq.2005.58.4.16.
    [Google Scholar]
43. Wu, Hao (2018), People’s Republic of Desire, n.p.: Torch Films.
    [Google Scholar]
44. Xu, Bing (2017), Dragonfly Eyes, China: Xu Bing Studio.
    [Google Scholar]
45. Zhu, Shengze (2019), Present.Perfect., Hong Kong and USA: Burn The Film and Tender Madness Pictures.
    [Google Scholar]