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Who are the fifth generation directors in China? What are their styles and masterpieces? Ask God for help
The "fifth generation directors" refer to young directors who graduated from the Beijing Film Academy in the 1980s (later expanded to the Department of Photography and the Department of Fine Arts). These directors were involved in the vortex of great social turmoil in China when they were young. Some went to the countryside, some served as soldiers, and endured 10 years of catastrophe. In the era of reform and opening up, they received professional training and entered the film industry with a passion for innovation. They are particularly keen on new ideas and new artistic techniques, and strive to find new angles in every film. They have a strong desire to explore the history of national culture and the structure of national psychology through film. In terms of material selection, narrative, character portrayal, lens use, picture processing, etc., we strive to be original and innovative. The works of the "fifth generation directors" are particularly subjective, symbolic, and allegorical. When they emerged as a group, even though their numbers were small, they caused a huge shock wave in the Chinese film industry. [Edit this paragraph] The growth process of the fifth generation" young filmmakers experienced the catastrophes of the Cultural Revolution and fought tenaciously at the bottom of the turmoil. After returning to school, they systematically studied film professional knowledge, accepted the popular Western philosophy and aesthetic trends at the time, and formed new values, Aesthetics - these anti-normative spiritual qualities are in line with the strong subjective consciousness and reflective thoughts in the entire literary and artistic field at that time. Their films are like young grass after a cold winter, fresh and unique. “Everything is inseparable from the creator’s experience and feelings. Ten years of worry and anger, four years of studying, and then pouring out, can it not make the sixth palace pink and white colorless? ""The feeling is based on the first and then the work is based on the shape, there is no difference between the modern and ancient masterpieces" (Chen Kaige, "Qin Guoren", "Contemporary Film", Issue 4, 1985) Like the fifth generation in mainland China, the Hong Kong New Wave has no manifesto or program, and no revolution. *With the same organization, as Hui Anhua said, the new wave directors do not have a consistent ideology, but we can find in their films a vision of tearing away the flashy surface of modern Hong Kong and presenting the truth nakedly. A realistic vision could not be found in the past. Facing the rise of urban culture, this group of film and television people born after the war have the courage to express various feelings under the influence of local traditions and foreign influences. [Edit this paragraph] The characteristics of their works are "the fifth generation." "The film also uses a strong desire to explore and subjective consciousness to observe and uniquely express the complicated history and reality. It uses deep historical thinking and keen philosophical thinking to reveal the historical origins of social changes, analyze outdated traditional concepts, and show the national The vivid charm shows an unprecedented sense of worry and strong emotions, as Chen Kaige said: "Our feelings are deep and complex, and it is difficult to express them clearly in words. It is a sad and happy emotion that arises from overthinking, a sense of history and responsibility that spans ancient and modern times, and a hope and belief in the future... I hope to make this belief and belief possible through my works. Emotions can be expressed" (Chen Kaige "With Deep Innocent Love" "Film Art Reference Materials" Issue 15, 1984. The first work of the fifth generation was Zhang Junzhao who took the lead in raising the banner at the Guangxi factory in 1983 and soaring into the sky. "One and Eight". The rise of the fifth generation of film directors is considered to be marked by the film "Yellow Earth". Representative works include Chen Kaige's "Yellow Earth" (1984), "Parade" (1986), and "Children". "The King" (1987), "Farewell My Concubine"; Zhang Yimou's "Red Sorghum" (a debut that shocked audiences and critics at home and abroad), "Raise the Red Lantern", "Alive", "My "Father and Mother" and "Hero"; Tian Zhuangzhuang's "The Hunting Ground" (1985), "The Horse Thief" (1986), "Blue Kite"; Wu Ziniu's "Blood in the Black Valley" (1984), "Evening Bell" (1988); Li Shaohong's "Red Pink" and "Baby in Love"; Huang Jianxin's "Black Cannon Incident", "Stand Up Straight, Don't Lie Down", "Back to Back, Face to Face", "Red Light Stop, Green Light" "Walking"; He Ping's "Swordsman of Two Flags Town", "Heroes of Heaven and Earth", Huo Jianqi's "That Man, That Mountain, That Dog", "Warm"; Ning Ying's "Looking for Fun", "Police Story", "Warm Summer" ". At this point, the fifth generation of films has come to an end. The new generation, such as Tsui Hark, Xu Anhua and Yan Hao, who received professional film education from abroad and were born in the local area after the immigration wave in the 1950s, took over the work of the previous generation in the late 1970s. At the time when people's rights were handed over, coupled with the growing affluence of society at that time, the demand for entertainment industry (movies were an important way of entertainment for Hong Kong people at that time), a large group of filmmakers emerged who were newer and more in line with society. Shooting movies from a realistic perspective. Xu Anhua's "Journey to the Angry Sea" is a product of this environment. Her background in comparative literature and English literature in college helped her better grasp the sense of history and understand the characters after returning from studying film in the UK. , has rich experience in television practice, and is familiar with such serious social themes, so the film looks well-organized and layered, and is loaded with a deep sense of social and historical responsibility. Representative figures include Chen Kaige, Zhang Yimou, Wu Ziniu, Tian Zhuangzhuang, and Huang Jianxin. Among the "fifth generation directors" group, there are also other outstanding talents such as Zhang Junzhao, Li Shaohong, Hu Mei, Zhou Xiaowen, Ning Ying, Liu Miaomiao, etc. During this period, unique works were also produced.
[Edit this paragraph] Member Profile Chen Kaige Chen Kaige (1952- ) graduated from the Directing Department of Beijing Film Academy in 1982. Since 1984, he has directed works such as "Yellow Earth", "Military Parade", "King of Children", "Walking and Singing", "Farewell My Concubine", "Feng Yue", etc. Most of his works have been shortlisted for important international film festivals, including won awards at major film festivals such as Cannes. Chen Kaige's achievements lie first in his high degree of humanistic spirit and his concern for human beings and their living conditions. He is good at analyzing the constraints and influence of the burden of history and tradition on the human spirit, showing the complexity of human beings, and at the same time, criticizing the unreasonable and inhumane weaknesses of human nature. His films are full of concern and yearning for a more harmonious and wiser human existence. With its profound cultural heritage and solid artistic skills, it expresses a strong humanistic consciousness and aesthetic pursuit, and mobilizes a variety of film methods to form its own unique heavy and sharp, peaceful and exciting film style. Films directed by Chen Kaige: 1. "Yellow Earth" directed by Chen Kaige tells the story of Gu Qing, a literary and art worker of the Eighth Route Army, who went from Yan'an to the mountains to collect folk songs and stayed with a poor farmer's family. His daughter Cuiqiao, because of her mother's burial and her younger brother's engagement, accepted a betrothal gift from a man much older than her and arranged a baby wedding. The new life information brought by Gu Qing gave Cuiqiao a new vision. This longing made her finally escape from her husband's house, cross the Yellow River at night, and join the Eighth Route Army. The success of "Yellow Earth" lies in the fact that it only uses the story as a shell. It expresses the author's innocent love for the land and the people through the development of time and space. There are many non-plot and non-character modeling elements in the film, such as the vast sky and majestic loess land, the peaceful and vast image of the Yellow River, and even many descriptions of customs and folk customs, such as the welcoming procession of 150 people with the sound of drums and music. The waist drum formation and the scene of praying for rain under the scorching sun are closely integrated with the characters and become an important component of the entire screen image. The film also excels in terms of photography, color, shape, composition, etc., but it also contains profound meaning. "Yellow Earth" uses the three-dimensional unity of land, folk culture and characters, and the three-dimensional unity of narrative elements, metaphorical elements, lyricism and philosophy to express the simple, desolate and profound folk customs of the Shaanxi Plateau and express the creator's understanding of national characteristics. , thinking about the fate of farmers. The film won the 1985 Golden Rooster Award for Best Cinematography; and won 6 international awards including the Silver Leopard Award at the 38th Locarno International Film Festival in Switzerland in 1985. 2. Also known as "exploratory movies" during this period were "The King of Children" directed by Chen Kaige, "Blood in the Dark" directed by Wu Ziniu, "The Hunting Ground" and "The Horse Thief" directed by Tian Zhuangzhuang, etc. 3. After the 1990s, the artistic explorations of Chinese filmmakers have become more diversified. Chen Kaige made "Farewell My Concubine" which is very different from his previous style. The film uses the twists and turns of the lives and destiny of several Peking Opera actors to make a philosophical exploration and interpretation of the eternal contradiction between human survival ideals and reality. The film won 8 international awards including the Palme d'Or at the 46th Cannes International Film Festival in France for its skillful artistic skills and rich oriental humanistic themes. Zhang Yimou Zhang Yimou (1951- ) graduated from the Photography Department of Beijing Film Academy in 1982. Initially worked as a photographer. His photography in "One and Eight", "Yellow Earth", and "Military Parade" are widely praised for their pursuit of strength and symbolism in picture modeling. In 1981, he independently directed "Red Sorghum", and then successively directed "Ju Dou", "Raise the Red Lantern", "Qiu Ju's Lawsuit", "Shake, Shake, Shake to Grandma Bridge", "Speak Well" and other works. Almost all of his works have been shortlisted for important international film festivals, and some have won awards. The outstanding features of Zhang Yimou's works are the profound understanding and strong critical spirit of traditional Chinese feudal consciousness, the strong sense of history and life consciousness embedded in them, and the unique landscape of simple folk customs. Zhang Yimou's films continue to explore and innovate in style and language, representing the rise of new film trends. Films directed by Zhang Yimou: 1. After the late 1980s, the rapid changes in the Chinese film market made it difficult for high-brow "exploratory films" to continue. China's middle-aged and young directors are becoming divided in their artistic pursuits. Some directors have made films that combine exploration and viewing. Among them, "Black Cannon Incident" directed by Huang Jianxin and "Red Sorghum" directed by Zhang Yimou are the most representative works. "Red Sorghum" uses a brand-new art form to depict the simple and wild life of a group of farmers in China in the 1920s and 1930s, as well as their bloody battles with the invaders. The plot structure of the film is very dramatic, and it praises the freedom of life through character creation. Love is true love, hate is true hate; great love, great hate, great life and great death. The plot has twists and turns and is unexpected, but its film language is inherent to "exploration films". The rhythm is bright, compact, and relaxed, and the images, colors, lights, and the visual images they constitute are vivid and intense. The film won the 1988 8th Golden Rooster Award for Best Feature Film, the 1988 Hundred Flowers Award for Best Feature Film, and the 1988 West Berlin International Film Festival Grand Prix - the Golden Bear Award, among other 8 international awards. 2. After the 1990s, the artistic explorations of Chinese filmmakers have become more diversified. Zhang Yimou shot "Qiu Ju's Lawsuit" in a complete documentary style. The film uses the story of "people suing officials" to praise the self-esteem, self-improvement and self-confidence of small people, and the awakening of the concept of the rule of law. The film won the 1993 Golden Rooster Award for Best Feature Film, the 1994 Hundred Flowers Award for Best Feature Film, and won 3 international awards including the Golden Lion Award at the 14th Venice Film Festival in Italy.
Wu Ziniu Wu Ziniu (1953- ) graduated from the Directing Department of Beijing Film Academy in 1982. Wu Ziniu's representative works are basically war-themed works. Among them are "Blood Valley", "Evening Bell", "Happy Heroes", "The Twilight Zone" and "Nanjing Massacre". An important feature of Wu Ziniu's creation is his thinking about war. The relationship between war and people, eliminating war and calling for peace are the themes of his creations. What is shown in "Blood Valley" is the spiritual struggle of life and death in the atmosphere of war; "Evening Bell" touches the scars left by the war on everyone with human sincerity; "Nanjing Massacre" is not simple either Instead of writing about the cruelty of the Japanese invaders, it focused on the idea that in this war, the Chinese and Japanese people were both victims, and looked at the war from a human perspective. Wu Ziniu's works have a unique style. The severe and rough appearance contains a trickle of emotion, which is deep, dignified, and full of sincerity and poetry. Most of his films have won international and domestic awards. Films directed by Wu Ziniu: Military-themed blockbusters include "Red Cherry" directed by Ye Daying in 1995 and "Nanjing Massacre" directed by Wu Ziniu. Both of these films take the anti-fascist war as their theme. The main thing they have in common is that they use war as the background and focus on the fate of people in the war, the suffering and the insurmountable spiritual trauma that the war brings to the people. (1977-1997). During this period, other films known as "exploratory films" include "King of Children" directed by Chen Kaige, "Blood in the Valley" directed by Wu Ziniu, "The Hunting Ground" and "The Horse Thief" directed by Tian Zhuangzhuang, etc. Tian Zhuangzhuang Tian Zhuangzhuang (1952- ) graduated from the Directing Department of Beijing Film Academy in 1982. He has successively directed the films "September", "Zhasa in the Hunting Ground", and "The Horse Thief". The outstanding feature of Tian Zhuangzhuang's creation is the film's focus on the human soul and nature. "Hunting Ground Zhasa" praises the simple and honest Mongolian customs and displays the vast and magnificent natural landscape, expressing the ideal state of harmony and balance between heaven, earth and man in the creator's mind. "The Horse Thief" explores the relationship between man and religion, and man and nature from the perspective of human survival and psychological needs. The vagueness of the narrative, the fullness of philosophy, and the delicate and smooth emotional description of Tian Zhuangzhuang's films have created a unique style in creation, and at the same time caused alienation from most audiences. Tian Zhuangzhuang's later films "The Drum Calligrapher", "Rock Youth", and "The Great Eunuch Li Lianying" had major changes in the style of the films. Huang Jianxin Huang Jianxin (1954- ) graduated from the director training class of Beijing Film Academy in 1983. In 1985, he shocked the film industry with his debut film "Black Cannon Incident". Later, he successively directed "Dislocation", "Reincarnation", "Five Leaders", "Stand Up Straight, Don't Lie Down", "Back to Back, Face to Face", "Red Light Stop, Green Light Go", "Ambush", etc. Many films have won awards at international and domestic awards. The creative characteristic of Huang Jianxin that is different from other "fifth generation directors" is that his eyes are almost always focused on the city, reality, and youth; the themes of the films always face life directly, showing a sense of mission and responsibility for society. The characters in the film are often ordinary people in daily life, and they are dedicated to analyzing their personalities and psychology. Huang Jianxin's artistic techniques are simple, plain, natural and calm, focusing on life-like and realism, using the small to see the big and the ordinary to see the strange. The calm humor and banter that has existed since "The Black Cannon Incident" has been present in all his works. His works form a unique landscape among the "fifth generation directors".
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