CHINESE CINEMA & THE “5TH GENERATION”. THE 3 CHINESE CINEMAS SILENT ERA –Movies...

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)