The chinese 5th &6th generation film


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The chinese 5th &6th generation film

  1. 1. By :Ng Jian Xiang Class:DIP-ANN3B Tel: 91256896
  2. 2. • Abstract • Introduction • The Cultural Revolution1964-1978 • The 5th generation filmmakers movement • The Difference between 1950s films and Chinese films • Evaluation and discussion of the Chinese film industry `
  3. 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
  4. 4. Introduction The Cultural Revolution that mao-zhe-dong launched officially in 1966 was simply a distorted and a typical phase of political extremism and forced mobilization. The Cultural Revolution is significant as much for its continuities with the rest of Chinese history until 1949 as for its disjunctions with what came before and what followed.
  5. 5. The5th generationfilmmakersmovement •Beginning in the late 1980s is the raise of the 5th generation filmmakers who broad Chinese films abroad that helps increase the popularity of Chinese films overseas. Zhang Yimou,Tian Zhuangzhuang, Chen Kaige, Zhang Junzhao and others are the famous filmmakers thatgraduated from the Beijing Film Academy in 1982 Zhang Junzhao Zhang Yimou TianZhuangzhuang Chen Kaige
  6. 6. 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
  7. 7. TheDifferencebetweenthe1950sfilms andChinese5th generationfilms •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 •Suffering from years of Shadow war •The Yan’an and Shanghai legacies •Film and the new mass culture •Aftermath of the Death of Mao Zhe Dong and the Gang Of Four was arrested
  8. 8. ThePresentday5thGenerationfilmVS the1950sfilm The Promise Directed byChen Kaige nominated for Golden Globes Best Foreign Language Film at the 63rd GoldenGlobe Awards The Life of Wu Xun directed by SunYu and starring Zhao Dan It was initially well received as one of ten best films of the year, but was soon severely criticized byChinese authorities. It was rehabilitated in 1986.
  9. 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. 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 •Even after years have past threes still a subsequent amount of Chinese race having to be in the Shadows of the war •Film for the Chinese filmmakers not just applies to the Chinese majority race it also applies to the minority races •Chinese films Merged with Hollywood films forms a different mixtures of movement
  11. 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