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The chinese 5th &6th generation film
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The chinese 5th &6th generation film


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  • 1. By :Ng Jian Xiang Class:DIP-ANN3B Tel: 91256896
  • 2. • Abstract • Introduction • The Cultural movements of Chinese Filmmakers in the 1950s and 1960s • Film genres 1950s-1960s • Evaluation and discussion of the Chinese film industry
  • 3. Abstract China is one of the oldest continuous civilizations as film is the most modern type of art in china.Untii the rise of television in the 1980s,Film was the major medium of mass communication in the People’s Republic, and it remains of exceptional importance. However, there has been no full-length scholarly study of film in china after 1949, despite the significance of the subject. The presumption seems to be that, in such a politicized culture, film has been simply a political tool in the hands of politicians. In this view there is much little to learn from the Chinese filmmaking after 1949. As early as that early Chinese cinema and film was a soft of attraction that is “purely narrative modes” as it is usually viewed in places like teahouses,markets,parks and theatres as there is a variety of traditional performances such as acrobatics, opera, Peep Shows as threes similarities appears between early Western and Chinese cinemas that in fact American films have long merged well with the Chinese market in the first half of the twentieth century Chinese film makers and their movement How film affected china’s politics Comparing Films from the past and now plus their movements
  • 4. Introduction The Chinese cultural history since 1949, and filmmaking as a major part of the history, has been dominated by three themes •The expansion of mass national culture •Relations among party, artist and audiences •Tensions Between Yan’an and Shanghai During the the day of October 1949 as the leader of the communist party stood in Tian An Men Square in Beijing they Proclaimed their political leadership over the whole Chinese civilization, they went as little further then claiming leadership and culture as well. Being able to be the rulers of China leadership is more then just political responsibilities, as the Chinese communist party Believes that to successfully controlling China, they should take up the revolution even further and reshape the culture of the nation. Yet transforming the Chinese cultural is just as difficult as the political war. As the nation as well the culture is riven by different divisions between regions, Ethnic groups,classes,languages and the level of development. But a invention of the twentieth century film, helped the leaders to overcome ancient civilization to a new age. Film was the most popular Element in the new mass culture as with this media’s potential it can reach the widest possible audiences. Moreover film is more readily controllable by the Communist Party censorship. But film was also one of the newest cultural media in China .It was closely associated with social and geographical element that helps shaping the leaders views of their political and cultural responsibilities with aid of experienced film- makers On May 4,1919 against the allocation of former German held Chinese territory to Japan in the Treaty of Versailles as May Fourth was one of the most distinctive components of the modern Shanghai Centred, cultural heritage. As before 1949 most of Chinese filmmakers were part of this cultural strain. They had little exposure to more remote part of China
  • 5. The Cultural movements of Chinese Filmmakers in the 1950s and 1960s •Most of the Members of the Film Group was in the subdivision of the League of Left Wing Writers during the period before the war of resistance to Japan(1937-1945) •Most of the Prominent Filmmakers in the 1950s and 1960s started working in the film industry Before 1949 most of them are not under the influence of the Communist Party •Some of their background mostly Lower middle class(Petit- Bourgeois) intellectuals and outlooks were shaped by the May Fourth Movement •The late 1950s Yan’an had won over Shanghai’s national culture as the cultural authorities increasingly acknowledged both the May Fourth literary traditions and the more ancient popular cultural traditions. Two themes of the film were formed in the nine years •The Developing tripartite relationship among the Communist, artist , and the audience •The move towards the signification of film The Life of Wu Xun1950 This the film directed at 1950 Directed by Sun Yu Starring Zhao Dan. It is a black and white film Produced by the Kunlun Studios
  • 6. •Film was a major part of a new mass national culture movement that emerged by the early 1960s. •This culture was the work of a range of actors that is not simply the demands of national authorities. •Two characteristics of the twentieth century mass culture are noteworthy which are it’s homogenized, nationwide character and it’s supraclass relevance. •Film as a medium and an art was more ideal means to disseminate the mass culture, as medium, it has more immediate appeal than the printed page or radio. As and art it is less open to local abuse by distributors than stage art which is by local drama or opera troupes Mass culture and the expansion of the film industry Letter with Feather1954 Battle on Shangganling Mountain1956 a 1954 Chinese film directed by Shi Hui and written by the playwright and filmmaker, Zhang Junxiang. A war film that was targeted at children. Battle on Shangganling Mount ain is a 1956 Chinese war film. It is also known as Shangganling Battle.
  • 7. ANewStarttothemasscultureand expansionoffilmindustry •New Studios Set up on suburban rural site of Guangzhou city1957-1960 •More audiences during nine years after 1956 •New Filmmakers •New Styles and subjects •The politics of Filmmaking Woman Basketball Player No. 5 1957 Chinese film presented by Tian Ma Film Studio and directed by Xie Jin, starring Qin Yi, Liu Qiong, Cao Qiwei and Wang Qi. It is the first colored sports movie filmed after the formation of the People's Republic of China, and also the first film directed by renowned film director Xie Jin
  • 8. Filmgenres1950s-1960s Three kinds of Stylistic features •Typical characters and events from the sixteenth, nineteenth or twentieth centuries •This feature owed much to the first feature as it present typical type of heroes, heroines and their environments with a striking degree of glossiness and glamour •The third type feature is emphasis placed by both the artist and bureaucrats on the writer of the film and scripting contrast to the importance according to the director partial cause was the probably of censorship system, as unwanted element could be weeded out from the written script before money was invested into it •The minorities films: serfs and smiles: Han chinese,Mongols,Tibetans,Uighurs,Miao,Yi,Zhuang,Bai, Koreans,Manchus,Muslims. •The Revolution: Proletarian nobility films about the revolution which ended with the Communist Party victory in 1949 •Contemporary subjects: Cheerful types Films made between 1956-1964 dealing with contemporary Chinese life shared some of the characteristic of the other genres •Musical Films: Nationalized Style Musical films which included adaptations of traditional opera, dance drams and musicals •May Fourth Adaptation: Remembrance of times past
  • 9. Discussionaboutthe PresentationTopic With the evolution of Chinese films genres why Martial arts films only flourished in the 1920s and 1930s but was missing in the major part of the film industry from 1940s-1950s?
  • 10. Summary •Chinese’s film movement leads to the revolution of Chinese cultural history •With the understanding of Chinese cultural evolution from different genres of films shows how their culture is establish with the influence of others •Politics have a major rule over the film industry as it aid them over the rule of the Chinese through Politics and cultural issues •Film for the Chinese filmmakers not just applies to the Chinese majority race it also applies to the minority races •Chinese films had a wide variety of choices after 1956-1964
  • 11. •Paul Clark, CHINESE CINEMA Culture and Politics since 1949,United States of America, Press Syndicate of the University of Cambridge,1987 •Barry Keith Gran, Film Genre From Iconography to Idealogy,Great Britain, Wallflower Press,2007 •Sheldon H.Lu& Emilie Yueh-Yu Yeh, Chinese Language Film Historiography,Peotics,Politics United States of America, University of Hawai’i Press, 2005