ABSTRACT
Zhai Yongming is primarily known as an avant-garde poet and one of the most distinct feminist voices on the contemporary Chinese poetry scene. However, her artistic and thematic interests have always been much broader and more diverse. They have found their outlet in Zhai's intermedial practices that emerged from her search for more capacious form to embrace the complexity of the condition of the modern human and voice her concerns about various social problems. This chapter examines Zhai's book-length ekphrastic poem Following Huang Gongwang Through the Fuchun Mountains, focusing on its cinematic qualities, and connects it to her screenplay for the experimental film “Dragonfly Eyes” to bring out the author's reflection on the role of the artist as a witness and a custodian of historical memory.
