Go For 'Em!
written by Zhang Xianmin
translated by Dena Duijikers

The word 'forum'has a restrictive ring: it conjures up images of people sitting around a round table discussing something in the middle. This is the complete opposite of what the younger generation should be doing: Young people should turn outward to seek role models and find the words they wish to say.

The Chinese word for 'forum'consists of the characters for 'discuss'and 'platform', which is very appropriate in this case, as the YUNFEST concept of Youth Forum is not just that of discussion, but also that of presenting. This year's selected films will be showcased in a space intentionally opened to provide an opportunity and a venue for filmmakers, producers, and viewers to meet and exchange.

The accessibility of low-budget productions proves the once widely held stereotype that documentary film used to be a world of its own. Just like the story of the frog in the well, documentary filmmakers frolicked in their own little world, oblivious to what was going on outside, striving to emulate and innovate inside a pre-established, rigid set of rules. Low-budget productions have transformed documentaries into a dynamic new culture that shuns the old and conventional and pays no heed to the hierarchy of city, provincial and national TV stations as the only criteria for success and recognition.

Low-budget productions have also encouraged the appearance of a new wave of filmmakers. The first wave occurred when everyone, a brand-new Hi8 or DV camera in hand, went out to shoot their own films. Discovering a new art form, many visual artists also tried their hand at documentary filmmaking. The impact of the affordable new technology was obvious: themes were chosen at random and mimicry of whatever was in vogue was the norm. Contrary to these 'experimentalists', the second wave of filmmakers consists of self-conscious, serious filmmakers who view their work as more than just playing around with a camera.

Consciousness in this case also implies awareness of the market. Initially, the arrival of DV film gave filmmakers the dream of a commercial outlet. That illusion has been shattered and whether there will be DV market in the future is not up to the new generation nor is it subject to discussion anymore. The new wave of filmmakers is fully aware that only a chosen few will actually produce films that will enjoy commercial success.

So one may ask what outlets are open to DV filmmakers. I believe the non-commercial sectors such as academic circles, film festivals and the Internet are the most promising avenues available. Youth DV film production is like poetry and events like YUNFEST are like folk anthologies.

Most of the films featured in the Youth Forum section are student films, including a few graduation projects, while a smaller proportion consists of films by TV professionals who have ventured beyond the ordinary scope of their work. They reflect a variety of directions: some follow the principles of anthropological film and reflect upon local culture, some explore the memories of an individual and are rich in humanity, while others are spur-of-the-moment improvisations and funny like a quick text message.

A wider range of approaches can be found among the youth films than among the competition entries. Although some closely resemble television productions and ethnographic films in their attention to detail, others explore more freely and borrow methods and styles from music videos, such as the use of a personal angle in Moo, the carefree spirit of Yuanyuan and the artistic European vibe of Far and Near. Each film in this section has certain something that captures the viewer's attention: The female protagonist of An Unstable Life, the humorous depiction of neighbourhood life of Qingguan Road No. 10, the texture of Blind Coal Shore, the simplicity and liveliness of Sing for Childhood, the polish of A Country Womanl's Cultural Life and Cicheng's Happy Life.

The themes explored in the Youth Forum section overlap slightly, most of them were shot during the summer or winter vacations. I would suggest that academic institutions consider scheduling fall and spring vacations or set aside a semester to allow students to shoot their films.

I would also suggest, if finances permit, that YUNFEST be taken on tour, thus lending it a less academic flavor and making it more participatory.