If the globalized labor market is as good for people as its advocates claim, then why must films about globalized workers be shot on the sly? Stephanie Black and Maryse Alberti were able to record their documentary H-2 Worker (1990) only by sneaking around the prisonlike barracks of the Florida cane fields.

When David Redmon asked too many questions of the bead factory workers he was profiling in Mardi Gras: Made in China (2005), he got booted out of Fuzhou province. Now comes Micha Peled, who had to smuggle a video camera into China piece by piece and then reassemble it in Shaxi, home of cheap denim fabrication, so nobody in authority would know he was making China Blue.

Now enjoying its New York theatrical premiere after many festival screenings--it's at Anthology Film Archives through February 1--China Blue shows what life is like for Jasmine and Orchid, teenagers who sew jeans day and night at the Lifeng factory in Shaxi. To insinuate himself into the Lifeng compound, Peled persuaded the owner that he was shooting an homage to China's new entrepreneurs. (Peled kept up the pretense by assembling a promotional DVD for Lifeng, using the most cheerful of his footage.) Meanwhile, as the boss was being sweet-talked, associate producer and sound recordist Song Chen gained the confidence of Jasmine, Orchid and other factory girls by taking up residence in the Lifeng dormitory, where employees sleep twelve to a room (when they sleep at all).

Subscriber Login

User Name

Password

Subscribe Now!

The only way to read this article and the full contents of each week's issue of The Nation online is by subscribing to the magazine. Subscribe now and read this article -- and every article published since for the past five years -- right now.

There's no obligation -- try The Nation for four weeks free.

• Get The Nation at home (and online!) for 75 cents a week!
• If you like this article, consider making a donation to The Nation.