Since when have filmgoers started to expect something truly artistic rather than adopted for popular interests to watch? Perhaps not long after the ongoing artistic revolution that merits personal sensibilities rather than serving a bigger goal in today’s cinematic world around the early 2000s.
South and Central
“Photography itself is like a partially immortalized and visualized bit of time, which as a collective concept is itself hardly an accurate conceptualization; and if taken in the light of personal significance, it’s also an concept invented for the societal convenience as a whole in the use of reinforcing a socio-historical consciousness to us.”
Overall, one may conclude, from the popularity in China of Peter Hessler’s books even in the translated versions—mostly sold in the category of travel writing—that there is such a thing universally existed as a desire for critical reflections of oneself from the other side.
If, also, I say I started to care even less about news headlines, outraging geopolitical comments, editorials, apparent misinformation of almost everything crucial for our social stability, a lot of disbelief may come around because, as a man, no one would appear able to resist the attraction of politics, perhaps the source of all powers. But, indeed, seeing news outlets propagating that some country or group of people exposes a serious threat to the security of this and that isn’t really helpful to anyone sitting before that screen.
Summer days on which my dream continues
Leafing through the pages of certain geography magazines full of picturesque attractions, I saw, in pictures, Tianshan mountain, Qilian mountains, and the Taklamakan Desert in the northwestern part of China.
With Mydans’ photography, this framed painfulness becomes eternal. One even without prior knowledge about photojournalism would know how hard and heart-rendering it is to experience war, indeed, any kind of war, whether firsthand or second.
Reading vivid recollections by Tome Lou Hsienhua whose artistic sensibility, as he puts it, shaped his relationship with those tolerant, supportive of what he imagines his specific cultural identity is.
More by Tome Loulin
With years passing unnoticed, remembering what made us today becomes a necessity. As this unprecedented change that impacts the way we live ripples across almost every corner of the world, to live has become, it occurred, a specific way of realizing and remembering what we cannot live without.
It is with the help of written language that our thoughts and ideas could be more widely disseminated, known, understood, critically examined or misinterpreted in the public so we won’t easily surrender our past to time.
There are many different ways of seeing and how others see us, as Lou Hsienhua puts it, impacts the way we deal with the world as we try hard to make sure there is no distorted image about us drawn by others. When coming to the problem of self-imagining, the way we see ourselves, Hsienhua thinks, should never be dictated by anyone else but us. Resistant youths nowadays who try to claim their independence may declare that they are not what you see, meaning what you see about them is inaccurate, distorted, and, most importantly, subjective. Seeing, overall, is a complicated matter.
The sparrows that sometimes came to stay before my window were singing. Outside of the window, the trees whose names I was unable to utter were shining under the sun.