In short: You take a Dutch guy who wants to become a professional photographer. You put him in China with a camera team and he starts making an incredible portrait of present-day China. Since these three documentaries are almost unknown outside of Holland, I decided to share them here.
How the Dutch filmmaker Ruben Terlou ended up in China
After finishing high school in the Netherlands, Ruben Terlou went to China to make a living as a photographer. A rather unusual step for a young Dutchman, but Ruben was convinced that China was the place to be for him.
Settling down in Kunming and learning Chinese, he fell in love with the country and the people. He became fluent in Mandarin. But after two years of trying his luck as a professional photographer, he returned to Holland, allegedly broke and disappointed.
He than began studying medicine instead, putting photography second, but still visiting places like Afghanistan to shoot material. He finished his studies cum laude, yet he never became an actual doctor.
All in all, I have spent around four to five years in China, I guess. I appreciate the honesty of the people the most. Chinese people are very open about their emotions and can reflect well. The country is and remains fascinating because it is constantly and massively in motion.
The filmmaker Ruben Terlou in Dutch newspaper Trouw
Ruben Terlou: Holland’s unappointed China ambassador
Ruben’s China documentaries became an instant hit in the Netherlands. In every discussion about China people would mention his name.
For most Dutch people China used to be a far away place. Little did they know about the people who live there and their daily lives. Ruben’s China series made a change, focusing on a broad variety of topics and letting Chinese locals tell their own story. He showed that Chinese are not incomprehensible strangers, but fellow human beings. Not an easy task, especially under growing political tensions:
It would be nice if my work touches the audience. Because with all that news about the Chinese trade war, misunderstanding towards the superpower is growing. “What a horrible country, that China,” many people say. I want to remove that distrust, hope to paint a balanced and human image of China.
Many China documentaries made by westerners fail insofar that they are deep-rooted in prejudices (and often ignorance) and choose the moral high ground. Most importantly, they don’t bring any new insights.
Ruben Terlou cannot help but see China through the eyes of a westerner, but at least he makes a serious effort of leaving judgement to the viewers. But there’s more that makes him stand out from journalists and filmmakers that cover China:
He holds back his opinion and allows people to tell their stories
He’s not looking for cheap sensation
People open up to him and tell him very personal things
He’s a keen observerand a brilliant listener. He knows what to ask at the right moment.
Not only his Mandarin is fluent, he also knows a lot about Chinese history and culture. This is demonstrated in his interviews as well as in his selection of topics and filming areas.
He captures unusual places, people and situations like hospitals, circus artists and vanishing minorities.
China is the ideal laboratory for story telling. Had I made the same series in Belgium, or even in India, my conversations would affect the audience less. Those countries are closer to us. Precisely because China is strange to us, I can expose the essence of mankind. Do you understand? China is linguistically and culturally so different from us that it serves as a mirror.
Chinese like any other language ultimately is a tool for communication. Ruben mastered the language and moved on to use his wits and talents to do great things. What’s your dream? What do you think about his China doc? Please feel free to leave a comment.
Tired of listening to endless corona-updates and Covid-discussions? Here’s some China-focused listening material for you sorted by topic.
The general idea here: When learning a language, having some topics that really interest you, can be very motivating to keep pursuing your goals.
One of my personal favorites is definitely The China Africa Project Podcast. If you are into politics and want to broaden your views about China’s engagement in Africa, you will love the show. Another favorite of mine is China Tech Talk for insights into the Chinese tech-start-up scene.
The ChinaPower Podcast covers critical issues underpinning China’s emergence as a global power and brings together the leading experts on China and international politics. Host Bonnie S. Glaser offers her listeners critical insights into the challenges and opportunities presented by China’s rise.
The Little Red Podcast offers interviews and chat celebrating China beyond the Beijing beltway. Hosted by Graeme Smith, China studies academic at the Australian National University’s Department of Pacific Affairs and Louisa Lim, former China correspondent for the BBC and NPR, now with the Centre for Advancing Journalism at Melbourne University.
The MERICS podcast discusses and analyzes developments and current affairs in China: What is behind the Belt and Road Initiative? What kind of leader is Xi Jinping? How should we assess China’s climate change policies? How does the Chinese government use social media to its own ends? In addition to MERICS’s own staff, other experts on China and guest speakers at MERICS also take part in the interviews.
Host: Rutch Kirchner, Kerstin Lohse-Friedrich, Frank Pieke and other MERICS experts
China History podcast covers 5000 years of Chinese history and is hosted by Laszlo Montgomery. Topics include PRC history and leaders like Mao Zedong, Zhou Enlai and Deng Xiaoping, US-Chinese history, but also the Chinese dynasties, history of tea and even Chinese philosophy.
Organization: Techbuzz China is a part of Pandaily.com and powered by the Sinica Podcast network
Digitally China is a bi-weekly podcast from RADII hosted by Tom Xiong and Eva Xiao, and produced by Jacob Loven. On each episode, the team will tackle a different timely tech-related topic, providing key insights on all you need to know about the fast-changing nature of innovation in China.
China Tech Talk is an almost weekly discussion of the most important issues in China’s tech. From IPOs to fake data, from the role of WeChat to Apple’s waning influence, hosts John Artman and Matthew Brennan interview experts and discuss the trends shaping China’s tech industry.
Bottled in China brings you into Asia’s food and drink scene through conversations with the some of the most happening personalities. Hosted by Emilie Steckenborn, the show is your one spot for all things food, beer, wine and spirits from across the world.
Ta for Ta is a new biweekly podcast, which captures the narratives of women from Greater China at the top of their professional game. “Ta for Ta” is a play on the Chinese spoken language that demonstrates equality between the sexes. Tā 他 is the word for “he”; tā 她 is also the word for “she.”
Today it’s been exactly 52 years since the Dutch writer and diplomat Robert van Gulik (1910 – 1967) passed away. Best known for his Chinese detective novels, Van Gulik also was a respected scholar, chain-smoker and gibbon admirer. He spent most of his life, however, serving the Dutch government in diplomatic service.
After his studies in Sanskrit, Chinese and Japanese in 1935, Robert van Gulik joined the Dutch Ministry of Foreign Affairs. Although he made a career as a diplomat, van Gulik devoted most of his spare time to his books, writing and musical instruments.
The duty to his country brought him to unusual places: He lived and worked in China, India and Lebanon. In 1958 he became ambassador to Kuala Lumpur and in 1965 his appointment as ambassador to Tokyo followed.
It’s been said about Van Gulik that he was “a westerner with an eastern heart”. Looking back, Van Gulik wrote that his childhood in Indonesia played a crucial role in this:
In 1914, four years old, I left with my parents from my hometown of Zutphen to Java and attended primary school in Surabaya in Batavia. In 1923, we returned to the Netherlands for good and my father settled in Nijmegen where I went to the Stedelijk Gymnasium. My childhood in Java, however, had made a deep impression on me, and it were these memories which would determine my future path: the Chinese banners in Glodok aroused my interest in Chinese writing, and wajang performances gave me a preference for the eastern story that I never quite forgot. The nostalgic memories of my early childhood made me decide in my high school years to return to the East as soon as possible. That happened immediately after my promotion to a doctorate in Eastern literature, in Utrecht in the year 1935; be it then that the east turned out to be China, Japan, India and Malaya, and not Java where I have never been back.
Tong Tong — Het enige Indische blad ter wereld 8e jaargang, nummer 12, december 1963, p. 9
Throughout his life, Van Gulik was admired for his deep understanding of Chinese culture. His identification with the culture was deep-seated and reached a level where he seemed almost more Chinese in his ways and thinking than Dutch, although this last point was denied by people who knew him well. This is how a former colleague remembers Van Gulik:
Knowledge of Eastern languages and insight into foreign civilizations can be mastered by Westerners to a certain extent, but a complete identification with them remains rare. Van Gulik was such an exceptional appearance, as a result of which he had already become a legendary figure in China and beyond during his life. His complete command of language and culture preferably led him into areas of scientific work that others had recoiled from or were too peculiar to be approached by a Westerner.
He served three years in China (1943 – 1946) as first secretary of the Dutch delegation during particularly turbulent times and was located in Chongqing, the provisional capital of the Republic of China under Chiang Kai-Shek.
One anecdote from this era has survived. When asked by his government for a political assessment of Mao Zedong, he was grievously mistaken and more or less assumed thousands of years of tradition would prevail over current turmoil. Van Gulik saw Mao as a “temporary figure, a phenomenon of limited duration”.
Intellectual and artist
Van Gulik always found time for his intellectual and artistic pursuits and published on Chinese ink stones, painting, music and gibbons, his favorite animals. He himself was a highly skilled calligrapher. Playing the guqin, the qin (琴), was another of Van Gulik’s passions. Of his scientific works, his studies of sexual behavior in Chinese antiquity is most renowned. In China, he is know as 高罗佩 (Gāo luō pèi):
As Chinese rendering of my name I chose KAO LO-P’EI, KAO representing the GU in van Gulik, and LO-P’EI being a phonetic rendering of my personal name Robert. To this name I have stuck throughout the years, and it is by this name that I am known in the Far East.
Van Gulik’s best-known works, however, are the sixteen Judge Dee detective novels. These he wrote in English and were later edited into Dutch by himself. He also illustrated these stories with his own Chinese-style drawings.
The character of Judge Dee is based on a historical figure who lived in the Tang Dynasty. Van Gulik was inspired by ancient Chinese detective stories which he adapted and made accessible for non-Chinese readers. Reading the novels, you get a taste of ancient Chinese society, its judicial system, Confucianism, Taoism, superstition and elite culture:
His novels accessibly deal with aspects of Chinese history and culture. Judge Dee, the main character of the novel Dee Goong An, was based on the judge/ official and detective Di Renjie, who lived in the 7th century (during the Tang Dynasty). The classic 18th century version of Dee Goong An, with the name The Celebrated Cases of Judge Dee was first translated into English by Robert van Gulik. This became a success and Van Gulik decided to continue his writing and to create his own original judge Dee stories. There are many interesting differences between the traditional 18th century version of the classic 18th century novel and the version written by Van Gulik. He mixed styles of Western detective novels into traditional Chinese stories with an eye to modern Western readers.