（2011年亚洲纪录片基金小画册的前言，暂无中文）

Docs are a discovery of social issues, specially on human errors, leading to ethnic tension or disproportional disaster. 

Documentary makers are among those who fight back. That is a second level fight, beyong the social move they try to report or to create within. 

The first level fight – social moves – could be leaded by spontanous individual or by intentional group. Asia is divided into three parts according to the offering/covering of resistance to social issues: 

• organized one, specially in East Asia, from Japon to Hong-kong; 
  
  
• possibility and necessity of self-organized social collectives (it means also the huge lack of existing social coverage and often conflicts with political or financial powers), in South Asia typically, but also largely in West Asia, Central Asia and South-East Asia; 
  
  
• and finally the regions with social issue without free association possibility, such as China, which is my country, its' close friend North Korea, all the Gulf area from Iran to some extremely rich countries.

The second level fight, leaded by filmmakers, is in the same dilemma of individual creation and collective communication possibility. But that offers a map different from social moves: documentary’s creation is not simultanous to social movements, those two development are dislocated one from another.

East Asia presents a school of observative/contemplative documentary, fascinated by characters; South-East documentary is often about flesh (alive or dead), beside vegetation (alive or dead); South Asia develops a more rhetoric cinema, less cherful, more interrogative; central Asia and some Islamic countries offer a minimalist style, mixed with irony and bitterness; west Asia is obsessed by massive violence and lost paradise.

So for esthetics, it is very diverse. This year we even have two projects related to cinema it-self: Cinema of Terror and Golden Slumbers.

But it is a little monotonous on production plan: we saw every year projects in co-production, mainly with Europe (Academy of Marriage), or from Asian filmmakers based in Europe (Powerless). Those are often quite encouraging. In past years, we saw "migrant" Asian docmakers trying to have internatinal project, but we almost never saw project co-produced between Asian countries. 

That is a funny/lamentable lack, but perhaps also a golden/exciting opportunity for festivals or industry people. That is also why we, committee members for AND, persist to offer this channel/plateform to our colleagues from different horizons, close sea or far mountains.