Wu Wenguang
出生 : 1956-01-01, Yunnan, China
略歴
Wu was born in south-western China’s Yunnan province in 1956. After graduating from high school in 1974, Wu was send to the countryside, where he worked as farmer for four year. Between 1978 and 1982, he studied Chinese Literature in Yunnan University. After the University, Wu worked as a teach at a junior high school for three years, and later, he worked in the television as a journalist for four years. Wu left the television, moved to Beijing in 1988 to be an independent documentary filmmaker, freelance writer and creator and producer of dance/theater.
Wu has completed documentaries: Bumming in Beijing (1990), 1966, My Time in the Red Guards (1993), Jiang Hu: Life on the Road (1999), Fuck Cinema (2005), Bare Your Staff (2010), Treating (2010), Because of Hunger (2013), Investigating My Father (2016), Autobiography: Pass Through (2017), Autobiography: Struggle (2018) Autobiography: Fear (2019), Riding Through (2020), and has screened in many film festivals in the world. Wu also has created some short video, which like Diary: Snow, 21 Nov, 1998 (1999), Public Space (2000), Search: Hamlet in China (2002).
Wu had been created in theater, which like Treating (2009), Memory: Hunger (2010), Investigating My Father (2013) and Reading Hunger (2016), Reading Father (2019)
Also Wu had some no-fiction books published (Bumming in Beijing, 1966, Revolution Scene, Report on Jianghu)
In 2005, Wu found the Village Documentary Project, and in 2010, found the Folk Memory Project .
Self
Luo Luo’s intense fear of Covid-19 keeps her in the house during the pandemic. She listens to her father relate their family history, and spends time on Zoom with fellow Folk Memory Project members Wu Wenguang and Zhang Mengqi.
Editor
Edited together from materials taken from Caochangdi performances and activities between 2012-2013 and Wu Wenguang's own body camera record, this film can be regarded as a kind of "story follow-up" version of "Because of Hunger". In short, it is a kind of "remembrance".
Director
Edited together from materials taken from Caochangdi performances and activities between 2012-2013 and Wu Wenguang's own body camera record, this film can be regarded as a kind of "story follow-up" version of "Because of Hunger". In short, it is a kind of "remembrance".
Self
Edited together from materials taken from Caochangdi performances and activities between 2012-2013 and Wu Wenguang's own body camera record, this film can be regarded as a kind of "story follow-up" version of "Because of Hunger". In short, it is a kind of "remembrance".
Director
This film is the second segment of my “Autobiography Series.” From the moment when my mother disclosed a long kept secret, my birth was accompanied by many struggles for my mother. Those “struggles” include: during pregnancy, “should this child be kept,” to the painful struggles in the delivery process. Struggles have also accompanied since I was born, becoming part of my life.
Producer
A documentary about breaking the control, made by two students in the AFS Movies and Cultures China and Germany in my Eys program
Director
Wu Wenguang revisits the artist Gao Bo more than 20 years after their earlier encounters which were documented in "Bumming in Beijing" (1990) and "At Home in the World" (1995).
Director of Photography
My father was a landowner’s son and an ex-Kuomintang Air Force pilot, who remained in mainland China after 1949. For survival, he tried to transform himself from a man of the ‘old society’ to a man of the ‘new society’. As his son, I started investigating his ‘history before 1949’, which he had kept away from me. This film documents the process of my investigation over twenty years.
Editor
My father was a landowner’s son and an ex-Kuomintang Air Force pilot, who remained in mainland China after 1949. For survival, he tried to transform himself from a man of the ‘old society’ to a man of the ‘new society’. As his son, I started investigating his ‘history before 1949’, which he had kept away from me. This film documents the process of my investigation over twenty years.
Director
My father was a landowner’s son and an ex-Kuomintang Air Force pilot, who remained in mainland China after 1949. For survival, he tried to transform himself from a man of the ‘old society’ to a man of the ‘new society’. As his son, I started investigating his ‘history before 1949’, which he had kept away from me. This film documents the process of my investigation over twenty years.
The Old Man
Darkly humorous reinterpretation of the zombie film, set in Beijing. Here the undead are real estate agents, nouveau riche businessmen, security guards, manicurists, and sex workers seeking contact in an increasingly individualized, alienating society.
Director
The film is about the first two years in the Memory Project. All images was from my angle with my camera.
Producer
Zou Xueping continues to interview old people in her village, this time with the help of local children. They start collecting names and money to erect a memorial for the victims of the famine.
Producer
A documentary following the filmmaker, Wang Hai'an, who went back to his hometown of Zhanggao Cun, a rural village in Shandong Province. He interviewed the elders in his village who lived through the Great Famine during 1959- 1961. His main purpose was to gather the names of those who suffered and died during the famine and to ask the village to donate money for erecting a monument in their name, but the idea was rejected by the villagers
Producer
A documentary following the filmmaker, Shu Qiao, who went back to his hometown of Shuangjing, a rural village in Hunan Province. He interviewed the elders in his village who lived through the Great Famine during 1959-1961. His main purpose was to gather the names of those who suffered and died during the famine and to ask the village to donate money for erecting a monument in their name
Producer
During Luo Bing's second return to his village, Ren Dingqi finally accepts to showhim his memoirs.
Producer
A documentary following the filmmaker, Li Xinmin, who went back to her hometown and interviewed the elders in her village who lived through the Great Famine during 1959- 1961. The residents of this village Huamulin are still isolated. At the same time, the film reflects the loneliness in the real life of village's old people
Producer
Jia Zhitan investigates the One Strike-Three Anti campaign in his village.
Producer
It is the director's second documentary of "my village" series since she got involved with the "Folk Memory Project". She returned to her hometown to shoot footage, recording the realities she encountered in her search for memories. Her biggest question is: after experiencing the disaster of the tragic famine fifty years ago, the villagers now are not short of food, and are living a better life than before, but is the spirit of this village still starving?
Producer
Luo Bing went back to Luo village, where he was born and grew up, and interviewed older people to know what happened during famine from 1959-1961. His neighbor, Ren Dingqi wrote a memoir, but he didn't really show it to Luo Bing. Luo Bing knew the history of this village much more after getting close to Ren Dingqi every time
Producer
Li Xinmin's first return to her village in Yunnan province. Alongside interviews with some village elders, the film reveals the filmmaker's family and their views on her film project.
Director
Wu Wenguang's comment: This film looks at my relationship with the village filmmakers— or I might say, how we met and got entangled. The film’s material comes from video recordings of the Villager Documentary Project from 2005-2009. It is about how these complete strangers and I became tied, bound, and rolled up together. And it’s about the phrase I keep wanting to shout to them,“Stand your ground! None of you run from this!”
Producer
A documentary film following the daily life of director's grandfather in the winter of 2011. At 80 years old with five sons, the grandfather insists to live by himself in the rural area of Hebei
Director
Treatment is one of two films Wu Wenguang released in 2010 after a 5-year absence. The film deals with Wu’s memories of his deceased mother and his search for emotional healing.
This documentary shows how different young people try to realize their dreams to become famous through the film industry.
Editor
This documentary shows how different young people try to realize their dreams to become famous through the film industry.
Cinematography
This documentary shows how different young people try to realize their dreams to become famous through the film industry.
Producer
This documentary shows how different young people try to realize their dreams to become famous through the film industry.
Director
This documentary shows how different young people try to realize their dreams to become famous through the film industry.
Director
The film is about the life of farmer workers in Beijing, including search the “outlander” how to been in Beijing.
Producer
Director
Producer
A documentary of the Yuanda Song and Dance Tent Show, a wandering troupe from the countryside of Henan Province that is on the road all four seasons of the year.
Editor
A documentary of the Yuanda Song and Dance Tent Show, a wandering troupe from the countryside of Henan Province that is on the road all four seasons of the year.
Director
A documentary of the Yuanda Song and Dance Tent Show, a wandering troupe from the countryside of Henan Province that is on the road all four seasons of the year.
Director
A year after he made Bumming in Beijing, Wu Wenguang visited his main figures in Austria, France, Italy and the USA. The desire to escape everything, which was the most compelling feeling while they were still living in Beijing, has meanwhile faded and they are now confronted with the dynamics of emigration. Wu asks what it means to feels deserted by one's own country and how it is when one reacts by deserting it in turn.
Director
More preoccupied with "history" than Wu's other works, My Time in the Red Guards is a record of his fascination with the missed moment, Mao's Cultural Revolution. In 1966, the Red Guards ironically represented the official avant-garde, a movement carried forward by youth determined to become heroes of the Revolution. Wu interviews people who had joined the Red Guards as high schoolers, most now successful professionals, some Party members. The miscalculations and cruelties of this extreme cultural campaign are spread out before us, detailed by personal recollection and further illustrated by old agit-prop newsreels. Misgivings and fond remembrance vie for position as the interviewees seem to confuse the nostalgia of youthful action with the excesses of historical fact.
Producer
A documentary following five young artists from around China, who travelled to Beijing in the 1980s to work as freelancers, exploring their lives, careers, and what aspirations they may have for the future.
Director
A documentary following five young artists from around China, who travelled to Beijing in the 1980s to work as freelancers, exploring their lives, careers, and what aspirations they may have for the future.
