Third Cinema in China: Yellow Earth What is identified as 'excess' in Western cinematic experience is, therefore, precisely where we locate Third World cinema. -Teshome Gabriel The possibility of a Third Cinema in China is encouraged with Chen Kaige's 1984 film Yellow Earth. Drawing upon Teshome Gabriel's framework, a working definition of Third Cinema is possible in the case of Chinese cinema. The "fifth generation" of China's film-makers is credited in making films such as Yellow Earth
Claire Huot China’s New Cultural Scene The film Red Sorghum was one of the most popular Fifth Generation films in China and Abroad. As an adolescent American kid, probably the average, I got to see a new perspective of China through this class. I wanted to compare the West’s interpretation with Chinas’. One of the first things I did was compare Chinese cinema to well known American cinema. Zhang Yimou’s first film as director, Red Sorghum was immensely popular at home and abroad. The film follows a
for their entire lives, dedication obtains a whole new meaning. Dieyi's training to act as a woman and to reflect femininity in his whole life increases the dissension that is observed within the film as well as its connections to the politics of China. The use of ghastly sound effects, close-up cinematographic techniques, and military involvement combine together in this movie to create a devastatingly dramatic experience. At the beginning of Farewell My Concubine, two male actors walk towards
Issues concerning masculinity and sexuality had been a prominent topic across China’s cultural and political agendas, especially given the rise of featuring homosexuality in films during the late 20th century. Arguably, male homosexuality acted as a catalyst in the creation of new representations of “celluloid comrades” or tongzhi previously left unexplored by Chinese filmmakers. On the other hand, it has enticed a society that has deeply engrained cultural norms resulting in cultural violence in
first mainland Chinese film ever to be awarded the highest honour at a major international film competition. Set in the 1920s and '30s in northern China, Red Sorghum's narrative centres on the fate of a young woman who is forced to marry a rich old leper but who eventually falls in love with a younger man. The motif of female oppression in feudal China is repeated in Zhang's next two films, Ju Dou (1990) and Raise the Red Lantern (1991). The films form a loose triptych, linked not only by similar
Tinseltown is a slang term used as another name for Hollywood. Hollywood’s association with the film industry has made it a magical place for some Americans who seek fame, therefore giving it the name Tinseltown. Although the term was used around the 1970’s, Tinseltown is still popular today. Iconic buildings and places such as the Chinese Theater is one example. Today’s Hollywood is no longer a Tinseltown, but more like a “TinselCity.” Studios are located around Los Angeles and are no longer contained
Heroism is fighting even when you are scared. It’s showing that you will do whatever you can for the people on your block even if you can’t save the whole town. The perfect example of a hero is Mike Zellner. Mike Zellner shows that he is a hero because he kept fighting while in the army not knowing if he was going to make it home. Not only in the military, but also when he was fighting a fire to save others life when he could be taking his own. Equally important is patrolling the city not knowing
Undertale is an old style RPG game created by Toby Fox. This game is based on what path you choose to follow from the beginning to the end of your journey. A majority of the game contains hilarious jokes, and other parts contain a large amount of enjoyable character coming from everyone involved in the game. Each little part of the game contains some hint to the storyline. Even the things that a player can normally do such as save or reset the game, impacts the storyline that the player gets to experience
foreign influence, especially from Western culture. Ironically, China’s filmmakers require Hollywood connections and film-making skills and expertise to perform well internationally (Marchetti, Kam & Feng, 2009). 3.4 Influence of Hollywood on Chinese Cinema As a result of the current high levels of transnationalism, China’s way of viewing cultural identity is mainly shaped by the influx in movement of ideologies, people, technology and capital (Dorovicova & Newman, 2009). In essence, transnationalism
Thoughts on the concept of national cinema and Chinese movie The Dream Factory Since the commercialization of Chinese film market in 1997, The Dream Factory(1997) directed by Xiaogang,Feng was committed as the first commercial film in China (Mainland of China) after years of previously censored propaganda film (this refers to those films allowed to be screened during the Great Culture Revolution period). This movie was meaningful not only in terms of it leads the serious thinking about the future
in multi-level international cooperation, many researchers and scholars, or even normal audience get a sense that we must be increasingly unable to interpret the Chinese films as we did before. But how to find a new and proper perspective? The book China on screen may give some illuminations. Famous professors of film studies, Chris Berry and his wife Mary Farquhar, use this scholarly work to illustrate two arguments: first, how a different Chinese cinematic tradition have taken function in annotating
within Chinas national identity is said to be ephemeral changing since the archaic China. After The Treaty of Nanjing (1842-1997) was signed to end the first Opium war, HK became a crown colony of the Great British Empire (GBE) on a lease for 99 years. China had become lost, what was once part of their nation’s identity had been taken. People of Kowloon began to lose their traditions, and their culture was beginning to disappear with new ports opening bringing Western products into China. HK horror
with business. Hong Kong seems like the perfect location to combine these two areas. Furthermore, the cinema business of Hong Kong is one area I would love to explore. I was captivated when I discovered that one of my favorite films, The Departed, was adapted from the Hong Kong film, Infernal Affairs. Since then, Hong Kong cinema has always kept my curiosity. The cinema industry in Hong Kong, and China overall, is expanding in terms of both local film production and foreign film box office gross. With
Full Service Cinema: The South Korean Cinema Success Story (So Far) Fifteen years ago, South Korean cinema was in precipitous decline. It was facing deadly competition from Hollywood as import barriers were dismantled, and had almost no export market. Today, South Korean cinema is widely considered the most successful and significant non-Hollywood cinema anywhere in the world today. It is successful both in the domestic market, and internationally. This essay sets out to understand this phenomenon
The pleasure of watching a great cinema or conversely the disappointment and frustration of watching a poor film, is familiar to most of us. Cinema is one of the most popular and vibrant cultural practices reflecting a plethora of social, economic and cultural phenomena in modern societies. Cinema sometimes is the cultural reconstruction of our daily lives, sometimes an entree to a different time or place or idea that otherwise is difficult or even impossible to access. They remix the real, the unreal
audience’s interest in Hong Kong New Wave cinema and integrated Woo into the Hollywood industry. The Killer has gained cult status with western audiences since its release due to its radical differences from Hollywood action films. Although, it is important to note the reception of postcolonial Hong Kong cinema can be problematic through an “orientalist” reading of the film (Kam). For instance, David Bordwell argues that Hong Kong cinema is simply a “cinema of imitations” (Xu). In contrast to Bordwell’s
Beyond language barriers, people fear the inability to understand a culture due to fundamental differences between the experiences of members of the culture and themselves, the outside observers. So when I first begin the course Intro to Chinese Cinema, I entered with an acute awareness of my lack of exposure to Chinese culture and thus the fear that I wouldn’t be able to understand the themes and motivations of Chinese films. Contrary to my expectations, as the class progressed I was able to connect
inspirations for other countries as many major film industries other than Hollywood were influenced directly or indirectly by its advancement. The European cinema is an early example of film industry being affected by Hollywood. During the early 1900’s, especially starting from the late 1920’s when Hollywood entered the golden age, European cinema was greatly impacted by Hollywood production. The competition from Hollywood made it extremely hard for domestic productions to stand in the market. This
Korean Dramadance China, Korea, and Japan have been historically close for centuries, thus accounting for their numerous common artistic traditions. From pre-Christian times until the 8th and 9th century AD, the great trade routes crossed from the Middle East through Central Asia into China. Hinduism, Buddhism, some knowledge of ancient Greek, and much knowledge of Indian arts entered into China, and thence in time into Korea and Japan. Perhaps before Christ, the Central Asian art of manipulating
2013. Web. 9 May 2014. . "In the Mood for Love (2001)". Box Office Mojo. Internet Movie Database. Retrieved 1 May 2014. Marchetti, Gina, and Tan Kam. Hong Kong film, Hollywood and the new global cinema no film is an island. London: Routledge, 2007. Print. Zhuo, Botang. Hong Kong New Wave Cinema: 1978-2000. Bristol, UK: Intellect, 2008. Print.