Cinema of China

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Cinema of China

Actor Tan Xinpei in The Battle of Dingjunshan,

1905

Number of

screens

18,195 (2013)[1]

Per capita 0.7 per 100,000 (2011)[2]

Produced feature films (2013)[1]

Total 638

Number of admissions (2013)[3]

Total 612,000,000

Gross Box Office (2013)[1]

Total 21.8 billion (US$3.6 billion)[1]

National films 12.8 billion (US$2.12 billion)

(59%)[4]

Cinema of ChinaFrom Wikipedia, the free encyclopedia

The Cinema of China is one of three distinct historicalthreads of Chinese-language cinema together with theCinema of Hong Kong and the Cinema of Taiwan.

Cinema was introduced in China in 1896 and the firstChinese film, The Battle of Dingjunshan, was made in1905, with the film industry being centered around Shanghaiin the first decade. The first sound film, Sing-Song Girl RedPeony, using the sound-on-disc technology, was made in1931. The 1930s, considered the first "golden period" ofChinese cinema, saw the advent of the Leftist cinematicmovement and the dispute between Nationalists andCommunists was reflected in the films produced. After theJapanese invasion of China and the occupation of Shanghai,the industry in the city was severely curtailed, with filmmakersmoving to Hong Kong, Chongqing and other places, startinga "Solitary Island" period in Shanghai, referring to the city'sforeign concessions, with the remaining filmmakers workingthere. Princess Iron Fan (1941), the first Chinese animatedfeature film, was released at the end of this period. Afterbeing completely engulfed by the occupation in 1941, anduntil the end of the war in 1945, the film industry in the citywas under Japanese control.

After the end of the war, a second golden age took place,with production in Shanghai resuming, with films such asSpring in a Small Town (1948), named the best Chinese-language film at the 24th Hong Kong Film Awards. Remorseat Death (1948), by the same director, was the first Chinesecolor film. After the communist revolution in 1949, previousand some foreign films were banned in 1951, and movieattendance increased sharply. During the Cultural Revolution,the film industry was severely restricted, coming almost to astandstill from 1967 to 1972. The industry flourishedfollowing the end of the Cultural Revolution, including the"scar dramas" of the 1980s, such as Evening Rain (1980),Legend of Tianyun Mountain (1980) and Hibiscus Town(1986), made mostly by the Fourth Generation of Chinesefilmmakers, depicting the emotional traumas left by theperiod. Starting in the mid to late 1980s, with films such asOne and Eight (1983) and Yellow Earth (1984), the rise ofthe Fifth Generation brought increased popularity to Chinesecinema abroad, especially among Western arthouseaudiences, with films like Red Sorghum (1987), The Story of Qiu Ju (1992) and Farewell My Concubine (1993)



winning major international awards. The movement partially ended after the Tiananmen Square protests of 1989.The post-1990 period saw the rise of the Sixth Generation and post-Sixth Generation, both mostly making filmsoutside of the main Chinese film system and played mostly on the international film festival circuit.

Following the international commercial success of films such as Crouching Tiger, Hidden Dragon (2000) andHero (2002), the number of co-productions in Chinese-language cinema has increased and there has been amovement of Chinese-language cinema into a domain of large scale international influence. After The DreamFactory (1997) demonstrated the viability of the commercial model, and with the growth of the Chinese box office,Chinese films have broken box office records and, as of January 2014, 6 of the top 10 highest-grossing films inChina are domestic productions, with Lost in Thailand (2012) currently being the highest grossing Chinese film inthe domestic market and the first to reach 1 billion yuan.

China is the home of the largest film studio in the world, Hengdian World Studios, and in 2010 it had the thirdlargest film industry by number of feature films produced annually. In 2012 the country became the second-largestmarket in the world by box office receipts. In 2013, the gross box office in China was 21.8 billion (US$3.6billion), with domestic films having a share of 59%. The country is predicted to have the largest market in the world

in 2018.[5] China has also became a major hub of business for Hollywood studios.[6][7]

The vast majority of the Mainland-produced movies use Mandarin. Mainland films are often dubbed intoCantonese when exported to Hong Kong for theatrical runs.

Contents

1 Beginnings

1.1 Leftist movement

1.2 Japanese occupation and World War II

2 Second Golden Age

3 Early Communist era

4 Cultural Revolution and its aftermath

5 Rise of the Fifth Generation

6 The Sixth Generation

7 DGeneration independent movement

8 New Documentary Movement

9 New models and the new Chinese cinema

9.1 Commercial successes

9.2 Other directors

9.3 Chinese International Cinema and successes abroad

10 Industry and market size

11 See also

11.1 Lists

12 Notes



13 References

14 Sources

15 Further reading

16 External links

Beginnings

Motion pictures were introduced to China in 1896. The first recorded screening of a motion picture in Chinaoccurred in Shanghai on August 11, 1896, as an "act" on a variety bill. The first Chinese film, a recording of the

Peking opera, The Battle of Dingjunshan, was made in November 1905 in Beijing.[8] For the next decade theproduction companies were mainly foreign-owned, and the domestic film industry was centered around Shanghai, athriving entrepot and the largest city in the Far East. In 1913, the first independent Chinese screenplay, The

Difficult Couple (), was filmed in Shanghai by Zheng Zhengqiu and Zhang Shichuan ().[9] ZhangShichuan then set up the first Chinese-owned film production company in 1916. The first truly successful home-grown feature film was Yan Ruisheng () released in 1921. During the 1920s film technicians from theUnited States trained Chinese technicians in Shanghai, and American influence continued to be felt there for the next

two decades.[9]

It was during this period that some of the more important production companies first came into being, notablyMingxing (Bright Star) and the Shaw brothers' Tianyi (Unique). Mingxing, founded by Zheng Zhengqiu and ZhangShichuan in 1922 initially focused on comic shorts, including the oldest surviving Chinese film, Laborer's Love

(1922).[10][11] This soon shifted, however, to feature length films and family dramas including Orphan Rescues

Grandfather (1923).[10] Meanwhile, Tianyi shifted their model towards folklore dramas, and also pushed into

foreign markets; their film White Snake (1926)[a] proved a typical example of their success in the Chinese

communities of Southeast Asia.[10] In 1931, the first Chinese sound film Sing-Song Girl Red Peony was made, theproduct of a cooperation between the Mingxing Film Company's image production and Path Frres's soundtechnology. However, the sound was disc-recorded, and the first sound-on-film talkie made in China was either

Spring on Stage () by Tianyi, or Clear Sky After Storm by Great China Studio and Jinan Studio.[13]

Leftist movement

However, the first truly important Chinese films were produced beginning in the 1930s, with the advent of the"progressive" or "left-wing" movement, like Cheng Bugao's Spring Silkworms (1933), Sun Yu's The Big Road(1935), and Wu Yonggang's The Goddess (1934). These films were noted for their emphasis on class struggle andexternal threats (i.e. Japanese aggression), as well as on their focus on common people, such as a family of silk

farmers in Spring Silkworms and a prostitute in The Goddess.[8] In part due to the success of these kinds of films,

this post-1930 era is now often referred to as the first "golden period" of Chinese cinema.[8] The Leftist cinematicmovement often revolved around the Western-influenced Shanghai, where filmmakers portrayed the struggling

lower class of an overpopulated city.[14]



Three production companies dominated the market in the early to mid- 1930s: the newly formed Lianhua ("United

China"),[b] the older and larger Mingxing and Tianyi.[15] Both Mingxing and Lianhua leaned left (Lianhua's

management perhaps more so),[8] while Tianyi continued to make less socially conscious fare.

The period also produced the first big Chinese movie stars, namely Zhang Zhiyun, Hu Die, Ruan Lingyu, ZhouXuan, Zhao Dan and Jin Yan. Other major films of the period include New Women (1934), Song of theFishermen (1934), Crossroads (1937), and Street Angel (1937). Throughout the 1930s, the Nationalists and theCommunists struggled for power and control over the major studios; their influence can be seen in the films thestudios produced during this period.

Japanese occupation and World War II

The Japanese invasion of China, in particular their occupation of Shanghai, ended this golden run in Chinese cinema.All production companies except Xinhua Film Company ("New China") closed shop, and many of the filmmakersfled Shanghai, relocating to Hong Kong, the wartime Nationalist capital Chongqing, and elsewhere. The Shanghaifilm industry, though severely curtailed, did not stop however, thus leading to the so-called "Solitary Island" period(also known as the "Sole Island" or "Orphan Island"), with Shanghai's foreign concessions serving as an "island" ofproduction in the "sea" of Japanese-occupied territory. It was during this period that artists and directors whoremained in the city had to walk a fine line between staying true to their leftist and nationalist beliefs and Japanesepressures. Director Bu Wancang's Mulan Joins the Army (1939), with its story of a young Chinese peasantfighting against a foreign invasion, was a particularly good example of Shanghai's continued film-production in the

midst of war.[10][16] This period ended when Japan declared war on the Western allies on December 7, 1941; thesolitary island was finally engulfed by the sea of the Japanese occupation. With the Shanghai industry firmly inJapanese control, films like the Greater East Asia Co-Prosperity Sphere-promoting Eternity (1943) were

produced.[10] At the end of World War II, one of the most controversial Japanese-authorized company,

Manchukuo Film Association, would be separated and integrated into Chinese cinema.[17]

Second Golden Age

The film industry continued to develop after 1945. Production in Shanghai once again resumed as a new crop ofstudios took the place that Lianhua and Mingxing had occupied in the previous decade. In 1946, Cai Chusheng

returned to Shanghai to revive the Lianhua name as the "Lianhua Film Society."[18] This in turn became KunlunStudios which would go on to become one of the most important studios of the era, putting out the classics, Myriad

of Lights (1948), The Spring River Flows East (1947), and Crows and Sparrows (1949).[19] Many of thesefilms showed the disillusionment with the oppressive rule of Chiang Kai-shek's Nationalist Party. The Spring RiverFlows East, a three-hour-long two-parter directed by Cai Chusheng and Zheng Junli, was a particularly strongsuccess. Its depiction of the struggles of ordinary Chinese during the Sino-Japanese war, replete with biting socialand political commentary struck a chord with audiences of the time.

Meanwhile, companies like the Wenhua Film Company ("Culture Films"), moved away from the leftist tradition andexplored the evolution and development of other dramatic genres. Wenhua's romantic drama Spring in a SmallTown (1948), a film by director Fei Mu shortly prior to the revolution, is often regarded by Chinese film critics asone of the most important films in the history of Chinese cinema, with it being named by the Hong Kong Film

Awards in 2004 as the greatest Chinese-language film ever made.[20] Ironically, it was precisely its artistic qualityand apparent lack of "political grounding" that led to its labeling by the Communists as rightist or reactionary, and



A movie theater in Qufu, Shandong

the film was quickly forgotten by those on the mainland following the Communist victory in China in 1949.[21]

However, with the China Film Archive's re-opening after the Cultural Revolution, a new print was made from theoriginal negative, allowing Spring of the Small Town to find a new and admiring audience and to influence an entirenew generation of filmmakers. Indeed, an acclaimed remake was made in 2002 by Tian Zhuangzhuang. Remorseat Death (1948), by the same director, was the first Chinese color film.

Early Communist era

With the communist revolution in China in 1949, the government sawmotion pictures as an important mass production art form and tool forpropaganda. Starting from 1951, pre-1949 Chinese films and Hollywoodand Hong Kong productions were banned as the Communist Party ofChina sought to tighten control over mass media, producing insteadmovies centering around peasants, soldiers and workers such as Bridge(1949) and The White Haired Girl (1950). One of the production basesin the middle of all the transition was the Changchun Film Studio.

The number of movie-viewers increased sharply, from 47 million in 1949to 415 million in 1959. Movie attendance reached an all-time high of4.17 billion entries in that same year. In the 17 years between thefounding of the People's Republic of China and the Cultural Revolution, 603 feature films and 8,342 reels of

documentaries and newsreels were produced, sponsored mostly as Communist propaganda by the government.[22]

For example, in Guerrilla on the Railroad (), dated 1956, the Chinese Communist Party was

depicted as the primary resistance force against the Japanese in the war against invasion.[23] Chinese filmmakerswere sent to Moscow to study Soviet filmmaking. In 1956, the Beijing Film Academy was opened. The first wide-screen Chinese film was produced in 1960. Animated films using a variety of folk arts, such as papercuts, shadowplays, puppetry, and traditional paintings, also were very popular for entertaining and educating children. The mostfamous of these, the classic Havoc in Heaven (two parts, 1961, 4), was made by Wan Laiming of the WanBrothers and won Best Film award at the London International Film Festival.

The thawing of censorship in 1956-7 and the early 1960s led to more indigenous Chinese films being made whichwere less reliant on their Soviet counterparts. The most prominent filmmaker of this era was Xie Jin, whose twofilms in particular, The Red Detachment of Women (1961) and Two Stage Sisters (1964), exemplify China'sincreased expertise at filmmaking during this time.

Cultural Revolution and its aftermath

During the Cultural Revolution, the film industry was severely restricted. Almost all previous films were banned, andonly a few new ones were produced, the most notable being a ballet version of the revolutionary opera The RedDetachment of Women (1971). Feature film production came almost to a standstill in the early years from 1967 to1972. Movie production revived after 1972 under the strict jurisdiction of the Gang of Four until 1976, when theywere overthrown. The few films that were produced during this period, such as 1975's Breaking with Old Ideas,

were highly regulated in terms of plot and characterization.[24]



In the years immediately following the Cultural Revolution, the film industry again flourished as a medium of popularentertainment. Domestically produced films played to large audiences, and tickets for foreign film festivals soldquickly. The industry tried to revive crowds by making more innovative and "exploratory" films like theircounterparts in the West.

In the 1980s the film industry fell on hard times, faced with the dual problems of competition from other forms ofentertainment and concern on the part of the authorities that many of the popular thriller and martial arts films weresocially unacceptable. In January 1986 the film industry was transferred from the Ministry of Culture to the newlyformed Ministry of Radio, Cinema, and Television to bring it under "stricter control and management" and to"strengthen supervision over production."

The end of the Cultural Revolution brought the release of "scar dramas", which depicted the emotional traumas leftby this period. The best-known of these is probably Xie Jin's Hibiscus Town (1986), although they could be seenas late as the 1990s with Tian Zhuangzhuang's The Blue Kite (1993). In the 1980s, open criticism of certain pastCommunist Party policies was encouraged by Deng Xiaoping as a way reveal the excesses of the CulturalRevolution and the earlier Anti-Rightist Campaign, also helping to legitimize Deng's new policies of "reform andopening up." For instance, the inaugural 1981 Golden Rooster Award was given to two scar dramas, EveningRain (Wu Yonggang, Wu Yigong, 1980) and Legend of Tianyun Mountain (Xie Jin, 1980).

Most scar dramas were made by members of the Fourth Generation whose own careers or lives had sufferedduring the events in question, while younger, Fifth Generation directors such as Tian tended to focus on lesscontroversial subjects of the immediate present or the distant past. Official enthusiasm for scar dramas waned bythe 1990s when younger filmmakers began to confront negative aspects of the Mao era. The Blue Kite, thoughsharing a similar subject as the earlier scar dramas, was more realistic in style, and was made only throughobfuscating its real script. Shown abroad, it was banned from release in mainland China, while Tian himself wasbanned from making any films for nearly a decade afterward. After the events of June 4, 1989 in TiananmenSquare, few if any scar dramas were released domestically in mainland China.

Rise of the Fifth Generation

Beginning in the mid-late 1980s, the rise of the so-called Fifth Generation of Chinese filmmakers brought increasedpopularity of Chinese cinema abroad. Most of the filmmakers who constitute the Fifth Generation had graduatedfrom the Beijing Film Academy in 1982 and included Zhang Yimou, Tian Zhuangzhuang, Chen Kaige, ZhangJunzhao and others. These graduates constituted the first group of filmmakers to graduate since the CulturalRevolution and they soon jettisoned traditional methods of storytelling and opted for a more free and unorthodox

approach.[25] After the so-called scar literature in fiction had paved the way for frank discussion, Zhang Junzhao'sOne and Eight (1983) and Chen Kaige's Yellow Earth (1984) in particular were taken to mark the beginnings of

the Fifth Generation.[c] The most famous of the Fifth Generation directors, Chen Kaige and Zhang Yimou, went onto produce celebrated works such as King of the Children (1987), Ju Dou (1989), Farewell My Concubine(1993) and Raise the Red Lantern (1991), which were not only acclaimed by Chinese cinema-goers but by theWestern arthouse audience. Tian Zhuangzhuang's films, though less well known by Western viewers, were wellnoted by directors such as Martin Scorsese. It was during this period that Chinese cinema began reaping therewards of international attention, including the 1988 Golden Bear for Red Sorghum, the 1992 Golden Lion forThe Story of Qiu Ju, the 1993 Palme d'Or for Farewell My Concubine, and three Best Foreign Language Film

nominations from the Academy Awards.[26] All these award-winning films starred actress Gong Li, who becamethe Fifth Generation's most recognizable star, especially to international audiences.



Extremely diverse in style and subject, the Fifth Generation directors' films ranged from black comedy (HuangJianxin's The Black Cannon Incident, 1985) to the esoteric (Chen Kaige's Life on a String, 1991), but they sharea common rejection of the socialist-realist tradition worked by earlier Chinese filmmakers in the Communist era.Other notable Fifth Generation directors include Wu Ziniu, Hu Mei, Li Shaohong and Zhou Xiaowen. FifthGeneration filmmakers reacted against the ideological purity of Cultural Revolution cinema. By relocating to regionalstudios, they began to explore the actuality of local culture in a somewhat documentary fashion. Instead of storiesdepicting heroic military struggles, the films were built out of the drama of ordinary people's daily lives. They alsoretained political edge, but aimed at exploring issues rather than recycling approved policy. While CulturalRevolution films used character, the younger directors favored psychological depth along the lines of European

cinema. They adopted complex plots, ambiguous symbolism, and evocative imagery.[27] Some of their bolderworks with political overtones were banned by Chinese authorities.

These films came with a new style of shooting as well, directors utilized extensive color and long shots. As a resultof the new films being so intricate, the films were for more educated audiences than anything. The new style wasprofitable for some and helped filmmakers to make strides in the business. It allowed directors to get away from

reality and show their artistic sense.[28]

The Fourth Generation also returned to prominence. Given their label after the rise of the Fifth Generation, thesewere directors whose careers were stalled by the Cultural Revolution and who were professionally trained prior to1966. Wu Tianming, in particular, made outstanding contributions by helping to finance major Fifth Generationdirectors under the auspices of the Xi'an Film Studio, while continuing to make films like Old Well (1986) and TheKing of Masks (1996).

The Fifth Generation movement ended in part after the 1989 Tiananmen Incident, although its major directorscontinued to produce notable works, such as The Emperor's Shadow (1996) by Zhou Xiaowen. Several of itsfilmmakers went into self-imposed exile: Wu Tianming moved to the United States (but has since returned), HuangJianxin left for Australia, while many others went into television-related works.

The Sixth Generation

The post-1990 era has seen what some observers term the "return of the amateur filmmaker" as state censorshippolicies after the Tiananmen Square demonstrations produced an edgy underground film movement loosely referredto as the Sixth Generation. Owing to the lack of state funding and backing, these films were shot quickly andcheaply, using materials like 16 mm film and digital video and mostly non-professional actors and actresses,producing a documentary feel, often with long takes, hand-held cameras, and ambient sound; more akin to Italian

neorealism and cinma vrit than the often lush, far more considered productions of the Fifth Generation.[26]

Unlike the Fifth Generation, the Sixth Generation brings a more individualistic, anti-romantic life-view and pays far

closer attention to contemporary urban life, especially those affected by disorientation, rebellion[29] and

dissatisfaction with China's contemporary social tensions.[30] Many were made at an extremely low budget (anexample is Jia Zhangke, who shoots on digital video and formerly on 16 mm; Wang Xiaoshuai's The Days were

made on US$10,000[30]) and as such their films lack the rich aesthetics of the Fifth Generation. The title andsubjects of many of these films reflect the Sixth Generation's concerns. The Sixth Generation takes an interest inmarginalized individuals and the less represented fringes of society. For example, Zhang Yuan's hand-shot BeijingBastards focuses on youth punk subculture, featuring artists like Cui Jian, Dou Wei and He Yong frowned upon by

many state authorities,[31] while Jia Zhangke's debut film Xiao Wu (1997) concerns a provincial pickpocket.



As the Sixth Generation were further exposed internationally, many of their subsequent movies were joint venturesand projects with international investments, but remained quite resolutely low-key and low budget. Jia's Platform

(2000) was funded in part by Takeshi Kitano's production house,[32] while his Still Life was shot on HD interlacedvideo. Still Life was a surprise addition and Golden Lion winner of the 2006 Venice International Film Festival.Still Life, which concerns provincial workers around the Three Gorges region, was a vast contrast with the worksthe Fifth Generation Chinese directors like Zhang Yimou and Chen Kaige were directing then, like House of FlyingDaggers (2004) and The Promise (2005). It featured no star of international renown and was acted mostly bynon-professionals.

Many of Sixth Generation films have highlighted the negative attributes of China's entry into the modern capitalistmarket. Li Yang's Blind Shaft for example, is an account of two murderous con-men in the unregulated and

notoriously dangerous mining industry of northern China.[33] (Li refused the tag of Sixth Generation, although he

admitted he was not Fifth Generation either).[29] While Jia Zhangke's The World emphasizes the emptiness of

globalization in the backdrop of an internationally-themed amusement park.[34][35]

Some of the more prolific Sixth Generation directors to have emerged are Wang Xiaoshuai (The Days, BeijingBicycle), Zhang Yuan (Beijing Bastards, East Palace West Palace), Jia Zhangke (Xiao Wu, UnknownPleasures, Platform, The World), He Jianjun (Postman) and Lou Ye (Suzhou River, Summer Palace). Oneyoung director who does not share most of the concerns of the Sixth Generation is Lu Chuan (Kekexili: MountainPatrol, 2004; City of Life and Death, 2010).

DGeneration independent movement

There is a growing number of independent post-Sixth Generation filmmakers making films for extremely lowbudgets and using digital equipment. They are the so-called dGeneration (for digital). These films, like those fromSixth Generation filmmakers, are mostly made outside of the Chinese film system and are played mostly on theinternational film festival circuit. Ying Liang and Jian Yi are two of these dGeneration filmmakers. Ying's TakingFather Home (2005) and The Other Half (2006) are both representative of the dGeneration trends of featurefilm. Liu Jiayin made two dGeneration feature films Oxhide (2004) and Oxhide II (2010), blurring the line betweendocumentary and narrative film. Oxhide, made by Liu when she was just a film student, frames herself and herparents in their claustrophobic Beijing apartment in a sly, wickedly funny narrative much praised by critics Tony

Rayns and Shelly Kraicer.[36]

New Documentary Movement

Two decades of reform and commercialization have brought dramatic social changes in mainland China, reflectednot only in fiction film but in a growing documentary movement. Wu Wenguang's 70-minute Bumming in Beijing:The Last Dreamers (1990) is now seen as one of the first work of this "New Documentary Movement" (NDM) in

China of China's New Documentary.[37][38] Bumming, made between 1988 and 1990, contains interviews withfive young artists eking out a living in Beijing, subject to state authorized tasks. Shot using a camcorder, the

documentary ends with four of the artists moving abroad after the 1989 Tiananmen Protests.[39] Dance with the

Farm Workers (2001) is another documentary by Wu.[40]



Another internationally acclaimed documentary is Wang Bing's nine-hour tale of deindustrialization Tie Xi Qu: Westof the Tracks (2003). Wang's subsequent documentaries, Fengming: A Chinese Memoir (2007), Crude Oil(2008) and The Ditch (2010), cemented his reputation as a leading documentarist of the

movement.[citation needed]

Li Hong, the first woman in the NDM, in Out of Phoenix Bridge (1997) relates the story of four young women,who moving from rural areas to the big cities like millions of other men and women, have come to Beijing to make aliving.

The New Documentary Movement in recent times has overlapped with the dGeneration filmmaking, with mostdocumentaries being shot cheaply and independently in the digital format. Huang Weikai's Disorder (2009), ZhaoDayong's Ghost Town (2009), Du Haibing's 1428 (2009), Xu Tong's Fortune Teller (2010), Li Nings Tape(2010) and Xu Xin's Karamay (2010) were all shot in digital format. All had made their impact in the internationaldocumentary scene and the use of digital format allows for works of vaster lengths.

New models and the new Chinese cinema

Commercial successes

With China's liberalization in the late 1970s and its opening up to foreign markets, commercial considerations havemade its impact in post-1980s filmmaking. Traditionally arthouse movies screened seldom make enough to breakeven. An example is Fifth Generation director Tian Zhuangzhuang's The Horse Thief (1986), a narrative film withminimal dialog on a Tibetan horse thief. The film, showcasing exotic landscapes, was well received by Chinese and

some Western arthouse audiences, but did poorly at the box office.[41] Tian's later The Warrior and the Wolf

(2010) was a similar commercial failure.[42] Prior to these, there were examples of successful commercial films inthe post-liberalization period. One was the romance film Romance on the Lu Mountain (1980), which was asuccess with older Chinese. The film broke the Guinness Book of Records as the longest-running film on a first run.Jet Li's cinematic debut Shaolin Temple (1982) was an instant hit at home and abroad (in Japan and the Southeast

Asia, for example).[43] Another successful commercial film was Murder in 405 (1980), a murder thriller.[44]

Feng Xiaogang's The Dream Factory (1997) [45] was one of the first to bridge the gap between critical acclaimand successful commercialism. The Dream Factory was heralded as a turning point in Chinese movie industry, ahesui pian (Chinese New Year-screened film) which demonstrated the viability of the commercial model in China'ssocialist market society. Feng has become the most successful commercial director in the post-1997 era. All of his

films made high returns domestically[46] while he used ethnic Chinese co-stars like Rosamund Kwan, JacquelineWu, Rene Liu and Shu Qi to boost his films' appeal.

Today, owing to the influx of Hollywood films (though the number screened each year is curtailed), Chinesedomestic cinema faces mounting challenges. Though the industry is growing, few domestic films save those by Fengmake the box office impact of major Hollywood blockbusters like Titanic (1997). In January 2010 JamesCameron's Avatar was pulled out from non-3D theaters for Hu Mei's biopic Confucius, but this move led to a

backlash on Hu's film.[47] Zhang Yang's 2005 Sunflower also made little money, but his earlier, low-budget Spicy

Love Soup (1997) grossed ten times its budget of 3 million.[48] Likewise, the 2006 Crazy Stone, a sleeper hit,



was made for just 3 million HKD/US$400,000. In 2009-11, Feng's Aftershock (2009) and Jiang Wen's Let theBullets Fly (2010) became China's highest grossing domestic films, with Aftershock earning RMB 670 million

(US$105 million)[49] and Let the Bullets Fly RMB 730 million (US$111 million).[50]

Other directors

Chinese cinema's successes beyond 1980 has led to the classifications of "The Fifth Generation" and "SixthGeneration", but some major directors have not been categorized into either, owing to the rather specialized genresthey work under. He Ping is a director of mostly Western-like films set in Chinese locale. His Swordsmen inDouble Flag Town (1991) and Sun Valley (1995) explore narratives set in the sparse terrain of West China nearthe Gobi Desert. His historical drama Red Firecracker, Green Firecracker (1994) won a myriad of prizes homeand abroad.

Recent cinema has seen Chinese cinematographers direct some acclaimed films. Other than Zhang Yimou, L Yuemade Mr. Zhao (1998), a black comedy film well received abroad. Gu Changwei's minimalist epic Peacock(2005), about a quiet, ordinary Chinese family with three very different siblings in the post-Cultural Revolution era,took home the Silver Bear prize for 2005 Berlin International Film Festival. Hou Yong is another cinematographerwho made films (Jasmine Women, 2004) and TV series. There are actors who straddle the dual roles of actingand directing. Xu Jinglei, a popular Chinese actress, has made four movies to date. Her second film Letter from anUnknown Woman (2004) landed her the San Sebastin International Film Festival Best Director award. The mosthighly regarded Chinese actor-director is undoubtedly Jiang Wen, who has directed several critically acclaimedmovies while following on his acting career. His directorial debut, In the Heat of the Sun (1994) was the first PRCfilm to win Best Picture at the Golden Horse Film Awards held in Taiwan. His other films, like Devils on theDoorstep (2000, Cannes Grand Prix) and Let the Bullets Fly (2010), were similarly well received. By the early

2011, Let the Bullets Fly has become the highest grossing domestic film in China's history.[50][51]

Chinese International Cinema and successes abroad

Since the late 1980s and progressively in the 2000s, Chinese films have enjoyed considerable box office successabroad. Formerly viewed only by cinetastes in the 1980s, its international appeal mounted after the immenseinternational success of Ang Lee's period wuxia film Crouching Tiger, Hidden Dragon in 2000, which earnedAng and Chinese cinema massive commercial and critical acclaim abroad. This multi-national production achievedsuccess at the Western box office, particularly in the United States, providing an introduction to Chinese cinema(and especially the Wuxia genre) for many and increased the popularity of many earlier Chinese films which mayhave otherwise been relatively unknown to Westerners. To date Crouching Tiger remains the most commerciallysuccessfully foreign-language film in U.S. history.

Similarly, in 2002, Zhang Yimou's Hero was another international box office success. Its cast featured many of themost famous Chinese actors who were also known to some extent in the West, including Jet Li, Zhang Ziyi, MaggieCheung and Tony Leung Chiu-Wai. Despite criticisms by some that these two films pander somewhat to Westerntastes, Hero was a phenomenal success in most of Asia and topped the U.S. box office for two weeks, makingenough in the U.S. alone to cover the production costs.

Other films such as Farewell My Concubine, 2046, Suzhou River, The Road Home and House of FlyingDaggers have also been critically acclaimed around the world. The Hengdian World Studios can be seen as the"Chinese Hollywood", with a total area of up to 330 ha. and 13 shooting bases, including a 1:1 copy of theForbidden City.



The successes of Crouching Tiger, Hidden Dragon and Hero increasingly makes it difficult to demarcate whatmay be called the boundary between "Mainland Chinese" cinema and a more international-based "Chinese-language cinema". Crouching Tiger, for example, was directed by a Taiwanese American director (Ang Lee). Itsethnic Chinese leads include Mainland Chinese (Zhang Ziyi), Hong Kong (Chow Yun-Fat), Taiwanese (ChangChen) and Malaysian (Michelle Yeoh) actors and actresses; the film was co-produced by an array of Chinese,American, Hong Kong, Taiwanese film companies. Likewise, Lee's Chinese-language Lust, Caution (2007) drawsa crew and cast from Mainland China, Hong Kong and Taiwan, and includes an orchestral score by Frenchcomposer Alexandre Desplat. This merging of people, resources and expertise from the three regions and thebroader East Asia and the world, marks the movement of Chinese-language cinema into a domain of large scaleinternational influence. Other examples of films in this mold include The Promise (2005), The Banquet (2006),Fearless (2006), The Warlords (2007), Bodyguards and Assassins (2009) and Red Cliff (2008-9). The easewith which ethnic Chinese actresses and actors straddle the mainland and Hong Kong has significantly increased thenumber of co-productions in Chinese-language cinema. Some artistes originating from the mainland, like Hu Jun,Zhang Ziyi, Tang Wei and Zhou Xun, obtained Hong Kong residency under the Quality Migrant Admission Scheme

and have acted in many Hong Kong productions.[52]

Industry and market size

In 2010, Chinese cinema was the third largest film industry by number of feature films produced annually.[53] In2013, China's gross box office was 21.8 billion (US$3.6 billion), the second-largest film market in the world by

box office receipts.[1] In January 2013, Lost in Thailand (2012) became the first Chinese film to reach 1 billion

yuan at the box office.[54] As of May 2013, 7 of the top 10 highest-grossing films in China were domestic

productions.[55] By December 2013 there were 17,000 screens in the country.[56] As of January 6, 2014, there are

18,195 screens in the country.[1]

Year

Gross

(in billions of

yuans)

Domestic

share

Tickets sold

(in millions)

Number of

screens

2003 less than 1[57]

2004 1.5[58]

2005 2[58] 60%[59] 157.2[60][61] 4,425[62]

2006 2.67[58] 176.2[60] 3,034[63] or 4,753[62]

2007 3.33[58] 55%[59] 195.8[60] 3,527[63] or 5,630[62]

2008 4.34[58] 61%[59] 209.8[60] 4,097[63] or 5,722[62]

2009 6.21[58] 263.8[60] 4,723[63] or 6,323[62]

2010 10.17[58] 290[60] or 377.9[61] 6,256[63] or 7,831[62]

2011 13.12[58] 370[60] 9,286[63]

2012 17.07[58] 48.5%[64] 462[3]

2013 21.77[58] 59%[4] 612[3] 18,195[1]



See also

East Asian cinema

Chinese animation

Chinese art

Lists

List of Chinese actors

List of Chinese actresses

List of Chinese directors

List of Chinese films

List of Chinese film production companies (pre-PRC)

Notes

a. ^ Bai She Zhuan (1926) : Legend of the White Snake[12] Adaptation of Legend of the White Snake

b. ^ Lianhua is also sometimes referred to in scholarly literature as the "United Photoplay Service"

c. ^ Notably Zhang Yimou served as cinematographer for both films.

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Sources

Bordwell, Kristin Thompson, David (2010). Film history : an introduction (3rd ed.). New York, NY:

McGraw-Hill Higher Education. ISBN 0073386138.

Nowell-Smith, edited by Geoffrey (1997). The Oxford history of world cinema (Paperback ed.). Oxford:

Oxford University Press. ISBN 0198742428.

Further reading

Rey Chow, Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese

Cinema, Columbia University Press 1995.

Cheng, Jim, Annotated Bibliography For Chinese Film Studies, Hong Kong University Press 2004.

Shuqin Cui, Women Through the Lens: Gender and Nation in a Century of Chinese Cinema, University

of Hawaii Press 2003.

Dai Jinhua, Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua,

eds. Jing Wang and Tani E. Barlow. London: Verso 2002.

Jay Leyda, Dianying, MIT Press, 1972.

Harry H. Kuoshu, Celluloid China: Cinematic Encounters with Culture and Society, Southern Illinois

University Press 2002 - introduction, discusses 15 films at length.

Laikwan Pang, Building a New China in Cinema: The Chinese Left-Wing Cinema Movement, 1932-

1937, Rowman & Littlefield Pub Inc 2002.

Zhen Ni, Chris Berry, Memoirs From The Beijing Film Academy, Duke University Press 2002.

60. â b c d e f g "Table 11: Exhibition - Admissions & Gross Box Office (GBO)"

(http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?ReportId=5538). UNESCO Institute for Statistics.

Retrieved 14 February 2014.

61. â b "Top 20 countries by number of cinema admissions, 20052010"

(http://www.screenaustralia.gov.au/research/statistics/acompadmissions.aspx). screenaustralia.gov.au. Screen

Australia. Retrieved 14 February 2014.

62. â b c d e f "Top 20 countries ranked by number of cinema screens, 20052010"

(http://www.screenaustralia.gov.au/research/statistics/acompscreens.aspx). screenaustralia.gov.au. Screen

Australia. Retrieved 14 February 2014.

63. â b c d e f "Table 8: Cinema Infrastructure - Capacity"

(http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?ReportId=5542). UNESCO Institute for Statistics.

Retrieved 14 February 2014.

64. ^ Patrick Frater (2013-01-10). "China BO exceeds RMB17 billion" (http://www.filmbiz.asia/news/china-bo-

exceeds-rmb17-billion). Film Business Asia. Retrieved 2014-2-14.



Semsel, George, ed. "Chinese Film: The State of the Art in the People's Republic", Praeger, 1987.

Semsel, George, Xia Hong, and Hou Jianping, eds. Chinese Film Theory: A Guide to the New Era",

Praeger, 1990.

Semsel, George, Chen Xihe, and Xia Hong, eds. Film in Contemporary China: Critical Debates, 1979-

1989", Praeger, 1993.

Gary G. Xu, Sinascape: Contemporary Chinese Cinema, Rowman & Littlefield, 2007.

Yingjin Zhang, Chinese National Cinema (National Cinemas Series.), Routledge 2004 - general

introduction.

Yingjin Zhang (Author), Zhiwei Xiao (Author, Editor), Encyclopedia of Chinese Film, Routledge, 1998.

Ying Zhu, "Chinese Cinema during the Era of Reform: the Ingenuity of the System", Westport, CT: Praeger,

2003.

Ying Zhu, "Art, Politics and Commerce in Chinese Cinema", co-edited with Stanley Rosen, Hong Kong

University Press, 2010

Wang, Lingzhen. Chinese Women's Cinema: Transnational Contexts. Columbia University Press, August

13, 2013. ISBN 0231527446, 9780231527446.

External links

Chinese Cinema (http://www.dmoz.org/Arts/Movies/Cultures_and_Groups/Asian/Chinese/) at DMOZ

Journal of Chinese Cinema (http://www.intellectbooks.co.uk/journals.php?issn=17508061)

MCLC Resource Center-Media (http://mclc.osu.edu/rc/filmbib.htm)

The Chinese Mirror A Journal of Chinese Film History

(http://www.chinesemirror.com/index/about_cm.html)

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