chinese cinema
DESCRIPTION
CHINESE CINEMA. & THE “5TH GENERATION”. THE 3 CHINESE CINEMAS. SILENT ERA Movies introduced to Mainland China, late 1890s American & European films, very popular “Interpreted” by a live Chinese narrator. THE 3 CHINESE CINEMAS. NATIVE PRODUCTION Production began in China about 1905 - PowerPoint PPT PresentationTRANSCRIPT
CHINESE CINEMA
&THE “5TH GENERATION”
THE 3 CHINESE CINEMAS
SILENT ERA– Movies introduced to Mainland
China, late 1890s– American & European films, very
popular– “Interpreted” by a live Chinese
narrator
THE 3 CHINESE CINEMAS
NATIVE PRODUCTION– Production began in China about 1905– 1908, 1st feature film, Tingchun
Mountain– 1908, the 1st Chinese studio founded
Asia Motion Picture Company Begun by American Benjamin Polaski & 2
Chinese businessmen
THE 3 CHINESE CINEMAS
By 1910, thriving Chinese film industry In 1917, rival company, Commercial
Press– Foreign-owned company located in
Shanghai– Sophisticated system of production &
distribution 1922, 1st wholly-owned Chinese film
studio, Ming Hsing (or Min-Xin, “Star”)
THE 3 CHINESE CINEMAS
THE SOUND/LANGUAGE PROBLEM– Different dialects spoken, resulted in regional
cinemas– Most successful Cantonese, based in HK &
Canton Early sound films technically “primitive” Concerned with:
– Social issues (oppression of peasants & women)
– Political issues (growing aggression of Japanese)
THE 3 CHINESE CINEMAS
Japanese invasion (1937) forced production companies south– HK, Taiwan, Singapore & Malaysia– Some remained, collaborated with Japanese
1945 production resumed, interrupted by civil war
Communists won, Chinese cinema split into 3 directions:– PEOPLE’S REPUBLIC OF CHINA (PRC)– HONG KONG– TAIWAN
THE PEOPLE'S REPUBLICOF CHINA
1949-66: nationalization & collectivization– Ministry of Culture set up Film
Administration Bureau with 2 divisions
Production & processing of prints Distribution & exhibition
– Chairman Mao created problems Didn't especially support the industry Often banned films he didn't like
THE PEOPLE'S REPUBLICOF CHINA
Even so, 10 major studios established, 1 in each major city
Films produced before 1956 films of Socialist Realism
1956-66 (“Hundred Flowers” campaign) control loosened, many films stylistically interesting & mildly critical of government
In 1964, over 480 feature films, 3000 newsreels, 200 cartoons
THE PEOPLE'S REPUBLICOF CHINA
1966 beginning of 10-year Cultural Revolution– Industry ceased operations, filmmakers
sent for “re-education”– Production resumed in 1970 with
untrained amateurs In 1976, moderates gained power,
industry liberalized Ended in 1989 with Tiananmen Square
massacre
THE PEOPLE'S REPUBLICOF CHINA
1966 beginning of 10-year Cultural Revolution– For 3 years, industry ceased operations,
filmmakers sent to countryside for “re-education”
– Production resumed in 1970 with untrained amateurs making overblown epics glorifying the Revolution
1976, moderates gained power, film industry liberalized politically & financially (process known as “fang”)
THE PEOPLE'S REPUBLICOF CHINA
Films affected by Cultural Revolution– Audiences tired of Socialist Realism– Many filmmakers had “bad attitudes”
1980s, new relationship between studios & government– State no longer provided full funding– Studios forced to make their own money– New emphasis on the audience
THE “5TH GENERATION”
State still operated censorship section of Film Bureau– Wanted movies to support
“modernization politics”– Allowed relatively high degree of
criticism
THE “5TH GENERATION”
THE “WOUND” OR “SCAR” GENRE– Immediately after Cultural
Revolution, based on works of “wound” or “scar” literature
– About 2 types of problems: Disruption of romantic relationships Disappointment of those loyal to China
& Revolution, unjustly persecuted
THE PEOPLE'S REPUBLICOF CHINA
Flashbacks, voice-over narration, fairly low-key
Rejected styles & conventions of earlier Chinese films– No glamorization of peasant life– Differentiated between peasants & the govt.– More sympathetic portrayal of intellectuals
Genre had run its course by about 1983
THE “5TH GENERATION”
1984-85, group of filmmakers emerged to make optimistic films
Focus on individuals & problems, instead of characters as representative of social classes or ideological positions
Broke away from rigid studio system
THE “5TH GENERATION”
In Yamaha Fishstall (1984), Chiang Liang used amateur actors & location shooting
In Juvenile Delinquents (1985), used inmates of “juvenile disciplinary centers”
Female director, Lu Xiaoya, who made Girl in Red (1985)
THE “5TH GENERATION”
5th Generation became known internationally with Yellow Earth (Chen Kaige, 1985)
Yellow Earth (Chen Kaige, 1985)
THE “5TH GENERATION”
The films of Zhang Yimou solidified the international reputation of the 5th Generation
Raise the Red
Lantern(Zhang
Yimou,1992)
Red Sorghum (Zhang Yimou,1987)
Shanghai Triad
(Zhang Yimou,1995)
Hero (Zhang Yimou,2002)
THE “5TH GENERATION”
Before Tiananmen Square, “6th Generation” emerged– Tian Zhuangzhuang, Wu Ziniu & – Influenced by Chinese culture, CHC,
AC & 3rd World cinemas– Not as concerned with Communist
Party or commercial success
Horse Thief
(Tian Zhuangzhuang, 1986)
The Blue Kite(Tian
Zhuangzhuang,1993)
National Anthem
(Wu Ziniu,1999)
The Hero Zheng Cheng Gong
(Wu Ziniu,2001)
The Hero Zheng Cheng Gong
(Wu Ziniu,2001)
Frozen (Xiaoshuai Wang,1996)
So Close to Paradise (Xiaoshuai Wang,1998)
Beijing Bicycle (Xiaoshuai Wang, 2001)
THE “5TH GENERATION”
To a certain extent, characteristics of 5th Generation– Debate about how to categorize directors
& their films– More similarities among these films than
differences– “5th Generation style” emerging,
embraces different talents with different influences
A Chinese “Cinema of Quality”?
Father (Lou Jian, 2001)
Purple Sunset (Feng Xiaoning, 2001)
A Love of Blueness (Huo Jianqi, 2001)