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A 1990 videotape about how to fix black-and-white televisions. It will tell you the composition of a B&W TV, the judgement of the malfunction, the common methods of malfunction's detection, cases of fixing different problems of the TV...

Snip. cut and style.

Never broadcasted feature film by Chinese documentary filmmaker Kang Jianning.

Short film directed by Chen Shiaixiong.

Short film directed by Chen Shiaixiong.

Short film directed by Chen Shiaixiong.

Four-part documentary series about Tibet. Part 1: Heavenly Palace (天宫). Part 2: Guge (古格). Part 3: Trulchendanpa and Tholing Monastery (楚成旦巴和托林寺). Part 4: Echo (回声).

Never broadcasted film by Chinese documentary filmmaker Kang Jianning. Whether it's a feature or a short is not known.

The film tells a life story of Wang Shulan, who was sold to Tulou by his mother at an early age. As a woman herself, director Dai Yi is deeply moved by the fates of the women she sees living at the lowest rungs of society, and cares deeply about telling their story.

"The sulphur-iron mine is located at the common boundary of Sichuan, Yunnan, and Guizhou province, with an area of 1774 square meters. The Yong Ning River originated from here, flowing northward 108 kilometers into the Yangtze River. The mine was established in 1950 and its products are mainly exported, with some concentrated uses within in the county. We found this place in the newspaper by accident; it's called Big Tree County. Many years ago, it was part of the forest along the Yangtze River. A sulphur-iron mine was discovered in the 1920s, which started large-scale sulphur smelting. Now the old way of sulphur smelting is ranking first in the country[sic]. On our second day there, in this remote valley in the southern part of Sichuan province with hundreds of thousands of people living there, we met a boy named Tan Cong. We then got to know his family, as well as a local school teacher, and some of the locals smelting the sulphur."

Like Wu Wenguang's Bumming in Beijing, Liu Xiaojin's documentary focuses on independent artists wandering the Chinese capital, but with an obvious female perspective. Liu shoots a group of female artists, including Yunnan dancer Wen Hui, Xinjiang painter Yang Keqin, artist-curator Liao Wen, and others. The "Cobra" in the film's title references the name of a women's rock band at the time. "The climax of the film finds 12 female artists organizing their own joint art exhibition...a female public space is formed among them, bringing them together." -- Zhang Zhen.

Six years after the 1989 Tiananmen Square massacre, FUNG uses a ping-pong to symbolise the fact that Hong Kong is merely being pushed from one side to another, leaving one coloniser only to find herself in the arms of another. Decidedly blank and expressionless, men in the video are nothing but transporters of the ping-pong.

No.16, Barkhor Street is an old courtyard in the heart of Lhasa and the site of the office of the Barkhor Neighborhood Committee. This masterful cinema verité documentary, the landmark work in the history of independent documentaries about Tibet, provides is a photographic study of rich insight into the basic workings of government in Tibet as it that follows the local Party Secretary, Deputy Director, Director for Women’s Affairs, and Community Policeman, among others, as they implement official policies and manage neighborhood affairs.

A crazy story set in somewhere Southeast Asia, a group of "crazy apostles" brutally massacred aids patients. The policeman Shao Wen's wife was killed by the group, so Shao determined to chase each member of this group to death.

Post Human is the first Taiwanese 35mm stop-motion film fulfilled by independant producers, taken by the well-known photographer John Lin as the director of photography. The film director transforms scrap metal into robots, interpretating an allegory about nuclear energy and environmental protection in the end of 20th century.

Four-channel installation. Videos show forceful and repeated scratching of body parts in close-up views, including shoulder, waist, back, leg, neck, foot, and arm.

In 1991, an exhibition called the “Garage Show” was held in an underground garage on Hengshan Road in Shanghai. Zhang Peili presented his video piece Hygiene No.3 at this show. On screen, a pair of hands continuously washes a live chicken in a basin using soap and water. Before the washing begins, the camera shows a plaque on the back wall that reads “Hygiene Advanced Unit.” The person washing the chicken wears a prison- or hospital-style vertically striped shirt, and his actions are mechanical and impassive.

Short documentary film for Oriental Time • Living Space directed by Jiang Yue. This was a "demo" that Jiang made for Living Space's new producer, Chen Mang, after the departure of the original producer, Lu Wangping. From the example set by this film, Living Space thereafter developed the slogan: "Telling the stories of ordinary people.”

In the video Kan Xuan! Ai! (1999), Kan runs through a pedestrian underpass in Beijing’s Fuxingmen subway station, repeatedly shouting and responding to her name as if searching for the lost self. Against a surging crowd, Kan’s anxious calls to the self amplify a common tension between one’s subjective experience and mainstream values or social norms.

An educational documentary on the Longmen Mountains.

This single-channel installation alternates between 20 seconds of images capturing private activities and expressions of people in front of the mirror in washrooms and 10 seconds of black screen. (Installation is intended to be viewed in a venue with walls covered in wallpaper and a video screen hidden behind a double-sided mirror on one of the walls. The reflection of the viewer's face will appear on the mirror whenever the video is faded into a black screen.)

Three-channel installation. (Meant to displayed on three 'faux walls' covered by wallpaper, each wall fitted with a 14-inch TV screen hidden behind a double-sided mirror with frame, which functions like a mirror reflecting the videos' viewers' faces when the videos show black screens intermittently.) The three videos were recorded without sound at the artist's home and the following contents are displayed throughout: 1) A breath directed towards a mirror, which blurs it, followed by a wiping clean of the mirror surface; 2) An opening up of a mouth followed by a sticking out of the tongue; 3) A close-up view of an eye-roll.

Eight-screen installation. An original 15-minute video clip of a street scene at a crossroad was captured and was played on a 25-inch TV screen. One corner of the TV-screened footage was filmed again to produce the 2nd video footage. This re-filming process repeated 7 times using the same focal distance (of the first re-filming's settings), and 8 video footages in 7 generations were produced. The images and sound became more abstract each time. The video installation was first staged in Hangzhou in 1996.

Documentary on Feng Tianyue, who developed a computer input method "码根码" (Ma Gen Ma) for Chinese and used an extreme method to promote it by doing graffiti on Beijing streets.

1998 documentary production from Inner Mongolia Television Station on the history and culture of Mongolian wrestling.

1991 documentary by Song Xiebao

Documentary about the 12-year girl who suffered from uremia and needed a kidney transplant to continue her life.

Documentary short film from 1998. The film is about twin sisters Dafeng and Xiaofeng, whose mother died when they were born. The sisters were raised by their aunt and uncle. When Dafeng and Xiaofeng were two years old, their biological father filed a lawsuit in court to have them returned to his custody. Regarding the issue of the attribution of Dafeng and Xiaofeng, the original defendants did not give in to each other in court. In the case of ineffective mediation, the court made another final judgment.