This is not a paywall You can keep reading for free! At Hyperallergic , we strive to make art more inclusive, so you’ll never hit a paywall when reading our articles. But, as an independent publication, we rely on readers like you to keep our high-quality coverage free and accessible. Please consider joining us as a member to support independent journalism.
Already a member? Sign in here. Hyperallergic is turning 15! ..
. and we’re throwing a party in New York City that you won’t want to miss! Tickets are available now! Get the details. We rely on readers like you to fund our journalism.
If you value our coverage and want to support more of it, consider supporting us as a member. Join Us Over his career, filmmaker Wang Bing has concerned himself chiefly with two social threads in China: examining the legacy of the country’s various 20th-century revolutions (as seen in titles like 2007’s Fengming, a Chinese Memoir , 2018’s Dead Souls , and last year’s Man in Black ) and surveying how the working class survives the modern tides of globalization (see 2002’s Tie Xi Qu: West of the Tracks , 2008’s Crude Oil , or 2012’s Three Sisters ). To further his explorations of the latter theme, Wang and a crew spent significant time in Zhili, a garment-making hub of the industrial eastern city of Huzhou, between 2014 and ‘19.
They shot around 26,000 hours of footage among the town’s hundreds of thousands of seasonal migrant workers. That project has so far yielded mult.
