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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
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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)
THE “5TH GENERATION” • The films of Zhang Yimou solidified the international reputation of the 5th Generation
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
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”?