Chinese Cinema

The Chinese cinema indicates in the broad sense the film S coming from the continental China, Hong-Kong and Taiwan. In spite of the common roots and the bonds linguistiquic, historical and cultural, their cinema comprise differences. Sometimes confused in the Western countries, they have a history and a style which is clean for them.

  • the Cinéma hongkongais is rather commercial and very popular abroad

  • the Taiwanese Cinéma was marked by the Japanese domination until 1937 then by the deep socio-economic changes
  • the Cinéma of continental China
One can also speak about a cinema of the Chinese diaspora.

History

Domination of Shanghai

The cinema appears at the beginning of the 20th century in the Chinese world. It is inspired mainly by the Chinese Opéra. The Taiwanese cinema is also marked by the influence Japan ease.

Before the First World War, the capital of the Chinese cinema is Shanghai which concentrates to it quasi totality of Chinese films. One cannot speak yet about Taiwanese cinema or hongkongais.

After War

The Second world war then the civil war involves the departure of many continental Chinese artists towards HongKong and Taiwan. The cinema of continental China becomes marked by the Soviet model with a production and sets of themes narrowly controlled by the State. The Cultural revolution (1966-1975) causes quasi a stop of the production in communist China. In parallel, HongKong becomes the heart of the Chinese film production under the impulse of the Shaw Brothers and the emigrated artists of China. They produce mainly films of martial arts which conquer the Chinese diaspora then even the Western public thanks to Bruce Lee at the beginning of the Années 1970.

Successes of the years 1980

All the Chinese cinemas are important successes as from the years 1980. While Hongkongais successes continue with realizers such as Tsui Hark or John Woo then Wong Kar Wai in the years 1990, one also attends with the revival in China Continentale and Taiwan. The 5th Generation emerges in continental China with Zhang Yimou and Chen Kaige. The new wave taiwainaise develops with Edward Yang and especially Hou Hsiao-Hsien.

Successes culminate in 1992-1993 with the Palme of Gold of Cannes for Chen Kaige in May 1992, the Lion of Gold of Venice for Zhang Yimou in September 1992 and the Gold Bear of Berlin in February 1993 for Ang Lee and Xie Fei.

Bringings together

Since the end of the year 1900 and in particular since the retrocession of HongKong in China in 1997, the bonds between the various cinemas in Chinese language developed.

It is in particular the gathering case with spectaculars of the stars of everyone Chinese. Thus Tiger and dragon realized by the Taiwanese Ang Lee has Taiwanese but also Chinese actors and hongkongais. In the same vein one can quote the secrecy of the flying daggers and Hero carried out by continental the Zhang Yimou.

Kinds

In spite of the differences stylistics, one finds certain common kinds:

  • Kung Fu

  • category 3
  • the modern Hero style

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