1. By :Ng Jian Xiang
Class:DIP-ANN3B
Tel: 91256896
Email:sionhuang@live.com

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. 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. 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. 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. 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. 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. 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. 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
•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. •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