Chinese Cinema:From the Fifth Generation to contemporary global entertainment industry,independent documentary,and the post-Fifth Generation filmmakers. 红高梁Hong gaoliang:Red Sorghum(1988) Presenter:Gavin Jocius
Chinese Cinema: From the Fifth Generation to contemporary global entertainment industry, independent documentary, and the post-Fifth Generation filmmakers. 红高粱 Hong gaoliang: Red Sorghum (1988) Presenter: Gavin Jocius
Outline: Historical context-lead up to Fifth Generation Fifth Generation Filmmakers Films Huang tu di:Yellow Earth(1984) Hong gaoliang:Red Sorghum(1988) Lan fengzheng:The Blue Kite(1993) Huozhe:To Live(1994) Sixth Generation Beyond Discussion Screenings
Outline: Historical context – lead up to Fifth Generation Fifth Generation Filmmakers & Films Huang tu di: Yellow Earth (1984) Hong gaoliang: Red Sorghum (1988) Lan fengzheng: The Blue Kite (1993) Huozhe: To Live (1994) Sixth Generation & Beyond Discussion Screenings
Point of clarification: "The business of naming is complex.To begin with,'Chinese cinema'as a general term is often applied to films made in mainland China,Hong Kong,and Taiwan"(Zhang,18). "To avoid unnecessary confusion,we might keep the general term"Chinese cinema"and instruct the reader to bear in mind the problematic nature of China or Chineseness"(Zhang,22). "While there are political and cultural,as well as geographical and historical differences between the three places(Hong Kong,mainland China Taiwan),works by directors from all these places can still validly be described as 'Chinese film" (1993)Zheng Dongtian-professor at BFA (Zhang,19). "Common cultural tradition
Point of clarification: “The business of naming is complex. To begin with, ‘Chinese cinema’ as a general term is often applied to films made in mainland China, Hong Kong, and Taiwan” (Zhang, 18). “To avoid unnecessary confusion, we might keep the general term “Chinese cinema” and instruct the reader to bear in mind the problematic nature of China or Chineseness” (Zhang, 22). “While there are political and cultural, as well as geographical and historical differences between the three places (Hong Kong, mainland China & Taiwan), works by directors from all these places can still validly be described as ‘Chinese film’” (1993) Zheng Dongtian – professor at BFA (Zhang, 19). “Common cultural tradition
1)The Beginnings:Shanghai,1896-1945: During the 1920s film technicians from the United States trained Chinese technicians in Shanghai. Film Genres:comic shorts,feature length films,and family dramas. Tianyi(Unique)Company,family studio founded by the Shaw(Shao)brothers in Shanghai in 1925.But contrary to the trendy features on contemporary issues produced by competing Chinese studios,Tianyi developed its own brand name by adapting Chinese folk tales, myths,and legends already popular among audiences. Their two-part White Snake (1926)broke all records of Chinese films in Southeast Asia. and this kind of overseas success was crucial to Shanghai studios because the majority of movie theaters in China were owned by the foreigners and showed mostly foreign films. 1930s-"progressive"or "left-wing"movement: Progressive films of the 1930s were noted for their emphasis on class struggle and external threats(i.e.Japanese aggression),as well as on their focus on common people, such as a family of silk farmers in Spring Silkworms and a prostitute in The Goddess. The Goddess named by director Chen Kaige(Fifth Generation Director)as his favorite film of the 1930s. In part due to the success of these kinds of films,this post-1930 era is now often referred to as the first"golden period"of Chinese cinema. Japanese occupation of Shanghai,ended the golden run in Chinese cinema. THE GODDESS神女 Starring Ruan Ling-yut诊玉 e
1) The Beginnings: Shanghai, 1896-1945: During the 1920s film technicians from the United States trained Chinese technicians in Shanghai. Film Genres: comic shorts, feature length films, and family dramas. Tianyi (Unique) Company, family studio founded by the Shaw (Shao) brothers in Shanghai in 1925.But contrary to the trendy features on contemporary issues produced by competing Chinese studios, Tianyi developed its own brand name by adapting Chinese folk tales, myths, and legends already popular among audiences. Their two-part White Snake (1926) broke all records of Chinese films in Southeast Asia, and this kind of overseas success was crucial to Shanghai studios because the majority of movie theaters in China were owned by the foreigners and showed mostly foreign films. 1930s - "progressive" or "left-wing" movement: Progressive films of the 1930s were noted for their emphasis on class struggle and external threats (i.e. Japanese aggression), as well as on their focus on common people, such as a family of silk farmers in Spring Silkworms and a prostitute in The Goddess. The Goddess named by director Chen Kaige (Fifth Generation Director) as his favorite film of the 1930s. In part due to the success of these kinds of films, this post-1930 era is now often referred to as the first "golden period" of Chinese cinema. Japanese occupation of Shanghai, ended the golden run in Chinese cinema
2)The Second Golden Age,the late 1940s: Many of these films showed the disillusionment with the oppressive rule of Chiang Kai-shek who served as Generalissimo (Chairman of the National Military Council)of the Nationalist Government of the Republic of China(ROC)from 1928 to 1948 Spring in a Small Town(1948),a film by director Fei Mu shortly prior to the revolution,is often regarded by Chinese film critics as one of the most important films in the history of Chinese cinema. It was its'artistic quality and apparent lack of"political grounding"that led to its labeling by the Communists as rightist or reactionary. Exiled Fifth Generation filmmaker Tian Zhuangzhuang(The Blue Kite)did a remake of the film in 2002. 穆費 rom the creators of CKOCKCHING TIGER.HIDDEN DRAGON 李 SPRINGTIME 明緯 INA SMALLTOWN 品出司丞言
2) The Second Golden Age, the late 1940s: Many of these films showed the disillusionment with the oppressive rule of Chiang Kai-shek who served as Generalissimo (Chairman of the National Military Council) of the Nationalist Government of the Republic of China (ROC) from 1928 to 1948. Spring in a Small Town (1948), a film by director Fei Mu shortly prior to the revolution, is often regarded by Chinese film critics as one of the most important films in the history of Chinese cinema. It was its’ artistic quality and apparent lack of "political grounding" that led to its labeling by the Communists as rightist or reactionary. Exiled Fifth Generation filmmaker Tian Zhuangzhuang (The Blue Kite) did a remake of the film in 2002
3)The Communist era,1950s-1960s: With the Communist takeover in 1949,the government saw motion pictures as an important tool for propaganda.Starting from 1951,pre-1949 Chinese films and Hollywood and Hong Kong productions were banned. Movies centered around peasants and soldiers. Chinese filmmakers were sent to Moscow to study Soviet filmmaking. In 1956,the Beijing Film Academy was opened. 4)The Cultural Revolution,1960s-1980s: During the Cultural Revolution,the film industry was severely restricted. Almost all previous films were banned,and only a few new ones were produced. The most notable--a ballet version of the revolutionary opera The Red Detachment of Women(1971) The film depicts the liberation of a peasant girl and her rise in the Chinese Communist Party
3) The Communist era, 1950s-1960s: With the Communist takeover in 1949, the government saw motion pictures as an important tool for propaganda. Starting from 1951, pre-1949 Chinese films and Hollywood and Hong Kong productions were banned. Movies centered around peasants and soldiers. Chinese filmmakers were sent to Moscow to study Soviet filmmaking. In 1956, the Beijing Film Academy was opened. 4) The Cultural Revolution, 1960s-1980s: During the Cultural Revolution, the film industry was severely restricted. Almost all previous films were banned, and only a few new ones were produced. The most notable -- a ballet version of the revolutionary opera The Red Detachment of Women (1971). The film depicts the liberation of a peasant girl and her rise in the Chinese Communist Party
5th Generation 1980s to 1990s Films"produced in the midst of the 'Modernization'campaign that was launched by Deng Xlaoping after he returned to power in the late 1970s"(Chow,79). 京 ."post-Cultural Revolution booming of aesthetic experimentation"(Chow,80) Beijing Film Institute the first class to graduate after the Cultural Revolution in 1982 Chen Kaige,Zhang Yimou,Tian Zhuangzhuang,Wu Ziniu,etc. Chen Kaige's Yellow Earth unofficially started it-12 April,1985 premier at Hong Kong Film Festival (Hitchcock,117). Directors Diverse in Subject and Style. 北学院 "There is no generational style unifying them,but there is definitely a common will,which,simply said,is to break new ground technically and thematically by exploring both their medium and their culture"(Huot, 93). Beijing Film Academy-The largest institution of higher learning for Film Television Production in Asia
• Films “produced in the midst of the ‘Modernization’ campaign that was launched by Deng Xiaoping after he returned to power in the late 1970s” (Chow, 79). • “post-Cultural Revolution booming of aesthetic experimentation” (Chow, 80). • Beijing Film Institute = the first class to graduate after the Cultural Revolution in 1982. • Chen Kaige, Zhang Yimou, Tian Zhuangzhuang, Wu Ziniu, etc. • Chen Kaige’s Yellow Earth unofficially started it – 12 April, 1985 premier at Hong Kong Film Festival (Hitchcock, 117). • Directors Diverse in Subject and Style. • “There is no generational style unifying them, but there is definitely a common will, which, simply said, is to break new ground technically and thematically by exploring both their medium and their culture” (Huot, 93). Beijing Film Academy – The largest institution of higher learning for Film & Television Production in Asia. 5th Generation 1980s to 1990s
黃土地Huang tu di:Yellow Earth(1984): Chen Kaige,Director IOTI嘿SIE Zhang Yimou,Cameraman CONSISTEVTIY RICH AND EVOCATIVE" aroc "Yellow Earth cannot be more culturally specific.It contains all manner of details that can be read as distinctively Chinese within a Third World cinema.In a nutshell,Yellow Earth makes visible China's geography,folk, their customs,history and philosophy,past and present"(Huot,93). "Rather than choose between two alternative visions of Chinese history,Yellow Earth stages comes revolution this contradiction as the governing principle of its narrative technique"(Hitchcock,119). Yellow Earth on the maker o。 FAREWELL MY CONCURINE.JU DOU and RAISE THIE RED LANTERN
黃土地Huang tu di: Yellow Earth (1984): Chen Kaige, Director Zhang Yimou, Cameraman “Yellow Earth cannot be more culturally specific. It contains all manner of details that can be read as distinctively Chinese within a Third World cinema. In a nutshell, Yellow Earth makes visible China’s geography, folk, their customs, history and philosophy, past and present” (Huot, 93). “Rather than choose between two alternative visions of Chinese history, Yellow Earth stages this contradiction as the governing principle of its narrative technique” (Hitchcock, 119)
Sparseness: "Take what most reviewers consider to be the chief formal(and ethnic)interest of Yellow Earth its Taoist aesthetics of non-presence"(Chow,90). Extreme long shots with little depth.Sky and horizon are proportioned to an extreme.Lots of "empty space"within the frame. "Listening stops with the ears,the mind stops with recognition,but spirit is empty and waits on all things.The Way gathers in emptiness alone.Emptiness is the fasting of the mind" (Chuang Tzu,58). "the ethnic value of Yellow Earth would have to be argued along lines like these:Taoist aesthetics,that which is the most"Chinese"aspect of the film,is part of a post-Cultural Revolution critique of the communist revolution;if communism is "politics,"then Taoist signifies the apolitical aestheticism of China's younger generation seeking refuge in pure form.(To this extent,one can understand why the film raised suspicions among mainland Chinese censors when it was first released)"(Chow,88). "one can already argue that the "sparseness"of Yellow Earth's Taoist"aesthetics"is politically inscribed:this is the sparseness of material well-being,a sparseness that has been tirelessly tapped for the purpose of revolution"(Chow,91). "On film,features of Taoist principles that create the effect of a nonanthropocentric "emptiness" come to the fore so visibly and largely(in a way that is not matched by classical Chinese painting)can do so because of a repetition-through the camera"(Chow,101)
Sparseness: “Take what most reviewers consider to be the chief formal (and ethnic) interest of Yellow Earth its Taoist aesthetics of non-presence” (Chow, 90). Extreme long shots with little depth. Sky and horizon are proportioned to an extreme. Lots of “empty space” within the frame. “Listening stops with the ears, the mind stops with recognition, but spirit is empty and waits on all things. The Way gathers in emptiness alone. Emptiness is the fasting of the mind” (Chuang Tzu, 58). “the ethnic value of Yellow Earth would have to be argued along lines like these: Taoist aesthetics, that which is the most “Chinese” aspect of the film, is part of a post-Cultural Revolution critique of the communist revolution; if communism is “politics,” then Taoist signifies the apolitical aestheticism of China’s younger generation seeking refuge in pure form. (To this extent, one can understand why the film raised suspicions among mainland Chinese censors when it was first released)” (Chow, 88). “one can already argue that the “sparseness” of Yellow Earth’s Taoist “aesthetics” is politically inscribed: this is the sparseness of material well-being, a sparseness that has been tirelessly tapped for the purpose of revolution” (Chow, 91). “On film, features of Taoist principles that create the effect of a nonanthropocentric “emptiness” come to the fore so visibly and largely (in a way that is not matched by classical Chinese painting) can do so because of a repetition – through the camera” (Chow, 101)
Ambiguity: "As she disappears into the darkness she sings what would in any other circumstance be considered a reaffirmation of nationalist pride,yet her voice is cut off in mid-sentence,just as she is pronouncing the first syllable of the word for 'communist"(Hitchcock,118). "the ambiguity conveyed by this is not only at odds with Mao's'Yenan line'but also with the current predilections of the Communist Party in the People's Republic of China(PRC)(Hitchcock,118). 'ambiguity itself is merely anti-Party and therefore,by definition,'Western'in its inclinations"(Hitchcock,118). With sickle.hammor and pick It's the communists who
Ambiguity: “As she disappears into the darkness she sings what would in any other circumstance be considered a reaffirmation of nationalist pride, yet her voice is cut off in mid-sentence, just as she is pronouncing the first syllable of the word for ‘communist’” (Hitchcock, 118). “the ambiguity conveyed by this is not only at odds with Mao's 'Yenan line' but also with the current predilections of the Communist Party in the People's Republic of China (PRC) (Hitchcock, 118). “ambiguity itself is merely anti-Party and therefore, by definition, 'Western' in its inclinations” (Hitchcock, 118)
