Editorial

Since its beginnings in China in the 1990s, the current now known as “independent film” ( duli dianying) has sought a space for creation, metaphorically but also concretely. While entering the mainstream circuit depended on authorisations granted by the Film Bureau, funding from a state-owned studio, and distribution through the nationwide network of theatres, young directors tried to open up an alternative space for making and showing films. This space was, to an extent, a private space: fil..