Кино Китая

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Кино Китая
Количество экранов ​	86,300 (2023)
• На душу населения	2,98 на 100 000 (2016 г.)
Основные дистрибьюторы	Китайский фильм (32,8%) Хуасия (22,89%) Просвещение (7,75%)
Продюсировал художественные фильмы (2016).
Вымышленный	772
Animated	49
Documentary	32
Number of admissions (2016)
Total	1,370,000,000
• Per capita	1
Gross box office (2023)
Total	CN¥54.9 billion (US$7.73 billion)
National films	58.33%

Кино Китая — это кинопроизводство и киноиндустрия материкового Китая в составе Китайской Народной Республики , одна из трёх отдельных исторических нитей китайского кино вместе с кино Гонконга и кино Тайваня . В Китае находится крупнейший в мире комплекс по производству кино и драмы, а также киностудии Oriental Movie Metropolis. и Hengdian World Studios . В 2012 году страна стала вторым по величине рынком в мире по кассовым сборам. В 2016 году валовые кассовые сборы в Китае составили 45,71 миллиарда юаней ( 6,58 миллиарда долларов США ). Китай также стал крупным центром бизнеса голливудских студий.

В ноябре 2016 года Китай принял закон о фильмах, запрещающий контент, считающийся вредным для «достоинства, чести и интересов» Китайской Народной Республики , и поощряющий продвижение «основных социалистических ценностей», одобренный Постоянным комитетом Всекитайского собрания народных представителей.

Начало

1926 Tianyi film Lady Meng Jiang, starring Hu Die

Motion pictures were introduced to China in 1896. They were introduced through foreign film exhibitors in treaty ports like Shanghai and Hong Kong.

China was one of the earliest countries to be exposed to the medium of film, due to Louis Lumière sending his cameraman to Shanghai a year after inventing cinematography. The first recorded screening of a motion picture in China took place in Shanghai on 11 August 1896 as an "act" on a variety bill. The first Chinese film, a recording of the Peking opera, Dingjun Mountain, was made in November 1905 in Beijing. For the next decade the production companies were mainly foreign-owned, and the domestic film industry was centered on Shanghai, a thriving entrepot and the largest city in the Far East.

Chinese-made short melodrama and comedy films began emerging in 1913. In 1913, the first independent Chinese screenplay, The Difficult Couple, was filmed in Shanghai by Zheng Zhengqiu and Zhang Shichuan. Zhang Shichuan then set up the first Chinese-owned film production company in 1916. The first full-length feature film was Yan Ruisheng (閻瑞生) released in 1921, which was a docudrama about the killing of a Shanghai courtesan, although it was too crude a film to ever be considered commercially successful.

Chinese film production developed significantly in the 1920s. During the 1920s film technicians from the United States trained Chinese technicians in Shanghai, and American influence continued to be felt there for the next two decades. Since film was still in its earliest stages of development, most Chinese silent films at this time were only comic skits or operatic shorts, and training was minimal at a technical aspect due to this being a period of experimental film. Throughout the 1920s and 1930s, filmmaking in China was largely done by film studios and there was comparatively little small scale filmmaking.

Upscale movie theaters in China had and contracts which required them to exclusively show Hollywood films, and thus as of the later 1920s, Hollywood films accounted for 90% of screen time in Chinese theaters.

After trial and error, China was able to draw inspiration from its own traditional values and began producing martial arts films, with the first being Burning of Red Lotus Temple (1928). Burning of Red Lotus Temple was so successful at the box office, the Star Motion Pictures (Mingxing) production later filmed 18 sequels, marking the beginning of China's esteemed martial arts films. Many imitators followed, including U. Lien (Youlian) Studio's Red Heroine (1929), which is still extant. It was during this period that some of the more important production companies first came into being, notably Mingxing and the Shaw brothers' Tianyi ("Unique"). Mingxing, founded by Zheng Zhengqiu and Zhang Shichuan in 1922, initially focused on comic shorts, including the oldest surviving complete Chinese film, Laborer's Love (1922). This soon shifted, however, to feature-length films and family dramas including Orphan Rescues Grandfather (1923). Meanwhile, Tianyi shifted their model towards folklore dramas and also pushed into foreign markets; their film White Snake (1926) proved a typical example of their success in the Chinese communities of Southeast Asia. In 1931, the first Chinese sound film Sing-Song Girl Red Peony was made, the product of a cooperation between the Mingxing Film Company's image production and Pathé Frères's sound technology. However, the sound was disc-recorded, which was then played in the theater in-sync with the action on the screen. The first sound-on-film talkie made in China was either Spring on Stage (歌場春色) by Tianyi, or Clear Sky After Storm by Great China Studio and Jinan Studio. Musical films, such as Song at Midnight (1937) and Street Angels (1937), starring Zhou Xuan, became one of the most popular film genres in China.

News films increased in importance following the Japanese air raid on Shanghai in 1932. The bombing also destroyed significant amounts of the Chinese film industry and resulted in the loss of many early films.

Leftist movement

20-year-old Ruan Lingyu, a superstar during the silent film era, in Love and Duty (1931)

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), Wu Yonggang's The Goddess (1934), and Sun Yu's The Great Road, also known as The Big Road (1934). These films were noted for their emphasis on class struggle and external 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. 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. The Leftist cinematic movement often revolved around the Western-influenced Shanghai, where filmmakers portrayed the struggling lower class of an overpopulated city.

Three production companies dominated the market in the early to mid-1930s: the newly formed Lianhua ("United China"), the older and larger Mingxing and Tianyi. Both Mingxing and Lianhua leaned left (Lianhua's management perhaps more so), while Tianyi continued to make less socially conscious fare.

Jin Yan, a Korean-born Chinese actor featured in The Big Road (1935), who gained fame during China's golden age of cinema

The period also produced the first big Chinese movie stars, such as Hu Die, Ruan Lingyu, Li Lili, Chen Yanyan, Zhou Xuan, Zhao Dan and Jin Yan. Other major films of the period include Love and Duty (1931), Little Toys (1933), New Women (1934), Song of the Fishermen (1934), Plunder of Peach and Plum (1934), Crossroads (1937), and Street Angel (1937). Throughout the 1930s, the Nationalists and the Communists struggled for power and control over the major studios; their influence can be seen in the films the studios produced during this period.

Japanese occupation and World War II

Zhou Xuan, an iconic Chinese singer and film actress

The Japanese invasion of China in 1937, in particular the Battle of Shanghai, ended this golden run in Chinese cinema. All production companies except Xinhua Film Company ("New China") closed shop. A large number filmmakers left to join the War of Resistance, with many going to the Nationalist-controlled hinterlands to join the Nationalist film studios Central Motion Picture Studio or China Motion Picture Studio. A smaller number went to Yan'an or Hong Kong.

The Shanghai film industry, though severely curtailed, did not stop however, thus leading to the "Solitary Island" period (also known as the "Sole Island" or "Orphan Island"), with Shanghai's foreign concessions serving as an "island" of production in the "sea" of Japanese-occupied territory. It was during this period that artists and directors who remained in the city had to walk a fine line between staying true to their leftist and nationalist beliefs and Japanese pressures. Director Bu Wancang's Hua Mu Lan, also known as Mulan Joins the Army (1939), with its story of a young Chinese peasant fighting against a foreign invasion, was a particularly good example of Shanghai's continued film-production in the midst of war. This period ended when Japan declared war on the Western allies on 7 December 1941; the solitary island was finally engulfed by the sea of the Japanese occupation. With the Shanghai industry firmly in Japanese control, films like the Greater East Asia Co-Prosperity Sphere-promoting Eternity (1943) were produced.

During the 1930 and 1940s, both the Chinese Nationalist government and the Japanese occupation authorities sent mobile projectionist units into areas under their control to show propaganda films.

In the Yan'an Soviet during September 1938, the Eighth Route Army established its first film group. In 1943, the communists released their first campaign film, Nanniwan, which sought to develop relationships between the communist army and local people in the Yan'an area by showcasing the army's production campaign to alleviate material shortages.

Following Japan's unconditional surrender in August 1945, the Soviet Red Army helped the Chinese communists to take over the Japanese colonial film establishment in Manchuria, the Manchukuo Film Association (Man-ei). Man-ei had state-of-the-art film production equipment and supplies. The former colonial studio was relocated to Hegang, where it was established as Northeastern Film Studio, the communist party's first full-capacity film studio. Yuan Muzhi was its director and Chen Bo'er was its party secretary. Northeastern Film Studio began production in early 1947, focusing on news and documentary films, as well as some fiction, educational film for children, and animation.

During the later phase of the Chinese Civil War, filmmakers trained in Yan'an and Northeastern Film Studio documented all the major battles leading to the communists' defeat of the Nationalists.

Second golden age

Wang Danfeng in the film New Fisherman's Song (1942)

The film industry continued to develop after 1945. Production in Shanghai once again resumed as a new crop of studios took the place that Lianhua and Mingxing studios had occupied in the previous decade. In 1945, Cai Chusheng returned to Shanghai to revive the Lianhua name as the "Lianhua Film Society with Shi Dongshan, Meng Junmou, and Zheng Junli." This in turn became Kunlun Studios, which would go on to become one of the most important studios of the era (Kunlun Studios merged with seven other studios to form Shanghai film studio in 1949), putting out the classics The Spring River Flows East (1947), Myriad of Lights (1948), Crows and Sparrows (1949), and Wanderings of Three-Hairs the Orphan, also known as San Mao, The Little Vagabond (1949).Many of these films showed the disillusionment with the oppressive rule of Chiang Kai-shek's Nationalist Party and the struggling oppression of nation by war. The Spring River Flows East, a three-hour-long two-parter directed by Cai Chusheng and Zheng Junli, was a particularly strong success. Its depiction of the struggles of ordinary Chinese during the Second Sino-Japanese war, replete with biting social and 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 and explored the evolution and development of other dramatic genres. Wenhua treated postwar problems in universalistic and humanistic ways, avoiding the family narrative and melodramatic formulae. Excellent examples of Wenhua's fare are its first two postwar features, Love Everlasting (Bu liaoqing, 1947) and Fake Bride, Phony Bridegroom (1947). Another memorable Wenhua film is Long Live the Missus (1947), like Love Everlasting with an original screenplay by writer Eileen Chang. Wenhua's romantic drama, Spring in a Small Town (1948), directed by Fei Mu shortly prior to the revolution, is often regarded by Chinese film critics as one of the most important films in the history of Chinese cinema, in 2005, Hong Kong film awards it as the best 100 years of film. Ironically, it was precisely its artistic quality and apparent lack of "political grounding" that led to its labeling by the Communists as rightist or reactionary, and the film was quickly forgotten by those on the mainland following the Communist victory in China in 1949. However, with the China Film Archive's re-opening after the Cultural Revolution, a new print was struck from the original negative, allowing Spring of the Small Town to find a new and admiring audience and to influence an entire new generation of filmmakers. Indeed, an acclaimed remake was made in 2002 by Tian Zhuangzhuang. A Chinese Peking opera film, A Wedding in the Dream (1948), by the same director (Fei Mu), was the first Chinese color film.

Early Communist era

At the founding of the People's Republic of China (PRC) in 1949, there were fewer than 600 movie theaters in the country. The government saw motion pictures as an important artform and tool for mass propaganda. The Soviet-led collaborations Victory of the Chinese People (1950) and Liberated China (1951) were among the biggest film events in the PRC's early years. Victory of the Chinese People depicted re-enactments of four of the communist party's major military victories and was filmed using real ammunition with the participation of the People's Liberation Army.

The private studios in Shanghai, including Kunming, Wenhua, Guotai, and Datong, were at first encouraged to make new films. They made approximately 47 films during the next two years but soon ran into trouble, owing to the furor over the Kunlun-produced drama The Life of Wu Xun (1950), directed by Sun Yu and starring veteran Zhao Dan. In an anonymous article in People's Daily in May 1951, the feature was accused of spreading feudal ideas. After the article was revealed to be penned by Mao Zedong, the film was banned, the Film Steering Committee was formed to "re-educate" the film industry, and the private studios were all incorporated into the state-run Shanghai Film Studio.

After the establishment of the PRC, China's cultural bureaucracy described American films as screen-opium and began criticizing American film alongside anti-drug campaigns. The Chinese Communist Party (CCP) sought to tighten control over mass media, producing instead movies centering on peasants, soldiers, and workers, such as Bridge (1949) and The White-Haired Girl (1950). One of the production bases in the middle of all the transition was the Changchun Film Studio. American films were banned as part of the Korean War effort.

The Communist government solved the problem of a lack of film theaters by building mobile projection units which could tour the remote regions of China, ensuring that even the poorest could have access to films. The vast majority of China's people lived in rural areas, and most people in China had not seen a film until mobile projectionists brought them. Mobile projection teams during the Mao era typically included three to four workers who physically transported film infrastructure through a large geographic area mostly not covered by any electrical grid. Yuan Muzhi was important in developing the Communist government's theories and practices of rural film exhibition. Yuan and Chen Bo'er transformed the post-Second Sino-Japanese War remnants of the Manchurian Motion Picture Association into the Northeast Film Studio and when Yuan became Film Bureau chief in 1949, he applied its model to help institute a film exhibition network around the country. The Northeast Film Studio also trained the first generation of communist Chinese documentary filmmakers.

In 1950, 1,800 projectionists from around the country traveled to Nanjing for a training program. These projectionists replicated the training program in their own home provinces to create more projectionists. Nanjing was later termed a "Cradle of People's Cinema." The PRC sought to recruit women and ethnic minority projectionists in an effort to more effectively reach marginalized communities.

Until the profusion of mobile projectionist teams in the 1950s, most rural people had not seen a film. The number of movie-viewers hence increased sharply, partly bolstered by the fact that film tickets were given out to work units and attendance was compulsory, with admissions rising from 47 million in 1949 to 4.15 billion in 1959. By 1965 there were around 20,393 mobile film units. During the course of the Mao era, the majority of films were shown by such units, with only a minority watched in theaters.

Work as a mobile projectionist was physically and technically demanding. As a result, women projectionists and all-women mobile projection teams were promoted in Chinese media as examples of advancing gender equality under socialism.

In the 1950s and the 1960s, the Communist Party built cinemas (among other cultural buildings) in industrial districts on urban peripheries. These structures were influenced by Soviet architecture and were intended to be vivacious but not "palatial."

Rural mobile projectionist teams and urban movie theaters were generally managed through the PRC's cultural bureaucracy. Trade Unions and PLA propaganda departments also operated film exhibition networks.

In 1950s China, a common view of film was that it served as "socialist distance horizon education". For example, films promoted rural collectivization. Cinema also sought to develop the proletarian class consciousness of rural workers, encouraging the industrialization and militarization of their labor. Film projection teams operating in rural China were asked to incorporate lantern slides into their work to introduce national policies and political campaigns.

In the 17 years between the founding 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. For example, in Guerrilla on the Railroad (铁道游击队), dated 1956, the Chinese Communist Party was depicted as the primary resistance force against the Second Sino-Japanese War. Chinese filmmakers were sent to Moscow to study the Soviet socialist realism style of filmmaking. The Beijing Film Academy was established in 1950 and officially opened in 1956. One important film of this era is This Life of Mine (1950), directed by Shi Hu, which follows an old beggar reflecting on his past life as a policeman working for the various regimes since 1911. The first widescreen Chinese film was produced in 1960. Animated films using a variety of folk arts, such as papercuts, shadow plays, puppetry, and traditional paintings, also were very popular for entertaining and educating children. The most famous of these, the classic Havoc in Heaven (two parts, 1961, 4), was made by Wan Laiming of the Wan Brothers and won the Outstanding Film award at the London International Film Festival.

Films such as The White-Haired Girl and Serf were part of a genre of redemptive melodramas, which sought to encourage audiences to "speak bitterness".

After the United Kingdom and the PRC established diplomatic relations, cultural exchanges between the two countries gradually resumed, including British moves being made available in China.

The thawing of censorship in 1956–57 (known as the Hundred Flowers Campaign) and in the early 1960s led to more indigenous Chinese films being made, which were less reliant on their Soviet counterparts. During this campaign the sharpest criticisms came from the satirical comedies of Lü Ban. Before the New Director Arrives exposes the hierarchical relationships occurring between the cadres, while his next film, The Unfinished Comedy (1957), was labeled as a "poisonous weed" during the Anti-Rightist Movement, and Lü was banned from directing for life. Other noteworthy films produced during this period were adaptations of literary classics, such as Sang Hu's The New Year's Sacrifice (1956, adapted from a Lu Xun story) and Shui Hua's The Lin Family Shop (1959, adapted from a Mao Dun story). The most prominent filmmaker of this era was Xie Jin, whose three films in particular, Woman Basketball Player No. 5 (1957), The Red Detachment of Women (1961), and Two Stage Sisters (1964), exemplify China's increased expertise in filmmaking. Films made during this period are polished, exhibiting high production value and elaborate sets. While Beijing and Shanghai remained the main centers of production, between 1957 and 1960 the government built regional studios in Guangzhou, Xi'an, and Chengdu to encourage representation of ethnic minorities in films. Chinese cinema began to directly address the issue of such ethnic minorities during the late 1950s and early 1960s in films like Five Golden Flowers (1959), Third Sister Liu (1960), Serfs (1963), and Ashima (1964).

On 9 March 1958, the Ministry of Culture held a meeting to introduce a Great Leap Forward in cinema. During the Great Leap Forward, the film industry rapidly expanded, with documentary films being the genre that experienced the greatest growth. Trends in documentary film included "artistic documentaries," in which actors and non-actors reenacted events. Film venues also expanded rapidly, including both urban cinemas and mobile projection units.

As part of the Socialist Education Movement, mobile film projectionist units showed films and slideshows that emphasized class struggle and encouraged audience members to discuss bitter experiences onstage. New films termed "emphasis films" were released to coincide with the campaign, and the film version of The White-Haired Girl was re-released.

In 1965, China launched the Resist America, Aid Vietnam campaign in response to the U.S. bombing of North Vietnam. To promote campaign themes denouncing U.S. imperialism and promoted Vietnamese resistance, the communist party used film exhibitions and other cultural media.

Films of the Cultural Revolution

During the Cultural Revolution, the film industry was severely restricted. Almost all previous films were banned, and only a few new ones were produced, the revolutionary model operas. The most notable of these was a ballet version of the revolutionary opera The Red Detachment of Women, directed by Pan Wenzhan and Fu Jie in 1970.

The release of filmed versions of the revolutionary model operas resulted in a re-organization and expansion of China's film exhibition network. From 1965 to 1976, the number of film projection units in China quadrupled, total film audiences nearly tripled, and the national film attendance rate doubled. The Cultural Revolution Group drastically reduced ticket prices which, in its view, would allow film to better serve the needs of workers and of socialism.

In addition to films deemed laudatory, from the middle of 1966 to 1968, the expanding film distribution network screened films characterized as "poisonous weeds" to hundreds of millions of audience members for the purpose of criticizing the films. These criticism screenings were sometimes accompanied by struggle sessions.

Sent-down youth were a major subset of China's rural projectionists during the Cultural Revolution period.

Feature film production came almost to a standstill in the early years from 1967 to 1972. Movie production revived after 1972 under the strict jurisdiction of the Gang of Four until 1976, when they were 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.

In 1972, Chinese officials invited Michelangelo Antonioni to China to film the achievements of the Cultural Revolution. Antonioni made the documentary Chung Kuo, Cina. When it was released in 1974, Communist Party leadership in China interpreted the film as reactionary and anti-Chinese. Viewing art through the principles of the Yan'an Talks, particularly the concept that there is no such thing as art-for-art's-sake, party leadership construed Antonioni's aesthetic choices as politically motivated and banned the film. Jiang Qing criticized Premier Zhou Enlai's role in Antonioni's invitation to China as not only a failure but also treasonous. Since its 2004 release in China, the film has been well-regarded by Chinese audiences, especially for its beautiful depictions of a more simple time.

Because China rejection most foreign film importation, comparatively minor cinema like Albanian cinema and North Korean cinema developed mass audiences in China. Through Albanian films screened during this period, many Chinese audience members were introduced to avant-garde and modernist storytelling techniques and aesthetics.

Post-Cultural Revolution

Box office boom after the Cultural Revolution

In the years immediately following the Cultural Revolution, the film industry again flourished as a medium of popular entertainment. Production rose steadily, from 19 features in 1977 to 125 in 1986. Domestically produced films played to large audiences, and tickets for foreign film festivals sold quickly. The industry tried to revive crowds by making more innovative and "exploratory" films like their counterparts in the West.

Chinese cinema grew significantly in the late 1970s. In 1979, annual box office admissions reached a peak of 29.3 billion tickets sold, equivalent to an average of 30 films per person. Chinese cinema continued to prosper into the early 1980s. In 1980, annual box office admissions stood at 23.4 billion tickets sold, equivalent to an average of 29 films per person. In terms of box office admissions, this period represented the peak ticket sales in the history of the Chinese box office. High ticket sales were driven by low ticket prices, with a cinema ticket typically costing between ¥0.1 ($0.06) and ¥0.3 ($0.19) at the time.

By the early 1980s, there were 162,000 projection units in China, primarily composed of mobile movie teams which showed films outdoors in both rural and urban areas.

A number of films during this period drew box office admissions in the hundreds of millions. China's highest-grossing film in box office admissions was Legend of the White Snake (1980) with an estimated 700 million admissions, followed by In-Laws (Full House of Joy) (1981) and The Undaunted Wudang (1983) with more than 600 million ticket sales each. The highest-grossing foreign film was the Japanese film Kimi yo Fundo no Kawa o Watare (1976), which released in 1978 and sold more than 330 million tickets, followed by the Indian film Caravan (1971) which released in 1979 and sold about 300 million tickets.

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

"Scar dramas"

See also: Scar literature

The end of the Cultural Revolution brought the release of "scar dramas" (傷痕剧 shānghén jù), which depicted the emotional traumas left by this period. The best-known of these is probably Xie Jin's Hibiscus Town (1986), although they could be seen as late as the 1990s with Tian Zhuangzhuang's The Blue Kite (1993). In the 1980s, open criticism of certain past Communist Party policies was encouraged by Deng Xiaoping as a way to reveal the excesses of the Cultural Revolution and the earlier Anti-Rightist Campaign, also helping to legitimize Deng's new policies of "reform and opening up." For instance, the Best Picture prize in the inaugural 1981 Golden Rooster Awards was given to two "scar dramas", Evening Rain (Wu Yonggang, Wu Yigong, 1980) and Legend of Tianyun Mountain (Xie Jin, 1980).

Many scar dramas were made by members of the Fourth Generation whose own careers or lives had suffered during the events in question, while younger, Fifth Generation directors such as Tian tended to focus on less controversial subjects of the immediate present or the distant past. Official enthusiasm for scar dramas waned by the 1990s when younger filmmakers began to confront negative aspects of the Mao era. The Blue Kite, though sharing a similar subject as the earlier scar dramas, was more realistic in style, and was made only through obfuscating its real script. Shown abroad, it was banned from release in mainland China, while Tian himself was banned from making any films for nearly a decade afterward. After the 1989 Tiananmen Square protests and massacre, few if any scar dramas were released domestically in mainland China.

Rise of the fifth generation

A movie theater in Qufu, Shandong

Beginning in the mid-late 1980s, the rise of the so-called fifth generation of Chinese filmmakers brought increased popularity of Chinese cinema abroad. Most of the filmmakers who made up the Fifth Generation had graduated from the Beijing Film Academy in 1982 and included Zhang Yimou, Tian Zhuangzhuang, Chen Kaige, Zhang Junzhao, Li Shaohong, Wu Ziniu and others. These graduates constituted the first group of filmmakers to graduate since the Cultural Revolution and they soon jettisoned traditional methods of storytelling and opted for a more free and unorthodox symbolic approach. After the so-called scar literature in fiction had paved the way for frank discussion, Zhang Junzhao's One and Eight (1983) and Chen Kaige's Yellow Earth (1984) in particular were taken to mark the beginnings of the Fifth Generation. Yellow Earth became one of the first Chinese art films to attract international attention.

The most famous of the Fifth Generation directors, Chen Kaige and Zhang Yimou, went on to produce celebrated works such as King of the Children (1987), Ju Dou (1989), Raise the Red Lantern (1991) and Farewell My Concubine (1993), which were not only acclaimed by Chinese cinema-goers but by the Western arthouse audience. Tian Zhuangzhuang's films, though less well known by Western viewers, were well noted by directors such as Martin Scorsese. It was during this period that Chinese cinema began reaping the rewards of international attention, including the 1988 Golden Bear for Red Sorghum, the 1992 Golden Lion for The Story of Qiu Ju, the 1993 Palme d'Or for Farewell My Concubine, and three Best Foreign Language Film nominations from the Academy Awards. All these award-winning films starred actress Gong Li, who became the Fifth Generation's most recognizable star, especially to international audiences.

Diverse in style and subject, the Fifth Generation directors' films ranged from black comedy (Huang Jianxin's The Black Cannon Incident, 1985) to the esoteric (Chen Kaige's Life on a String, 1991), but they share a 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. Fifth Generation filmmakers reacted against the ideological purity of Cultural Revolution cinema. By relocating to regional studios, they began to explore the actuality of local culture in a somewhat documentarian fashion. Instead of stories depicting heroic military struggles, the films were built out of the drama of ordinary people's daily lives. They also retained political edge, but aimed at exploring issues rather than recycling approved policy. While Cultural Revolution films used character, the younger directors favored psychological depth along the lines of European cinema. They adopted complex plots, ambiguous symbolism, and evocative imagery. Some of their bolder works with political overtones were banned by Chinese authorities.

These films came with a creative genres of stories, new style of shooting as well, directors utilized extensive color and long shots to present and explore history and structure of national culture. As a result of the new films being so intricate, the films were for more educated audiences than anything. The new style was profitable for some and helped filmmakers to make strides in the business. It allowed directors to get away from reality and show their artistic sense.

The Fourth Generation also returned to prominence. Given their label after the rise of the Fifth Generation, these were directors whose careers were stalled by the Cultural Revolution and who were professionally trained prior to 1966. Wu Tianming, in particular, made outstanding contributions by helping to finance major Fifth Generation directors under the auspices of the Xi'an Film Studio (which he took over in 1983), while continuing to make films like Old Well (1986) and The King of Masks (1996).

The Fifth Generation movement ended in part after the 1989 Tiananmen Square protests and massacre, although its major directors continued to produce notable works. Several of its filmmakers went into self-imposed exile: Wu Tianming moved to the United States (but later returned), Huang Jianxin left for Australia, while many others went into television-related works.

Main melody dramas

During a period when socialist dramas were beginning to lose viewership, the Chinese government began to involve itself deeper into the world of popular culture and cinema by creating the official genre of the "main melody" (主旋律 zhǔxuánlǜ), inspired by Hollywood's strides in musical dramas. In 1987, the Ministry of Radio, Film and Television issued a statement encouraging the making of movies which emphasizes the main melody to "invigorate national spirit and national pride". The expression main melody refers to the musical term leitmotif, which translates to the 'theme of our times', which scholars suggest is representative of China's socio-political climate and cultural context of popular cinema. These main melody films, still produced regularly in modern times, try to emulate the commercial mainstream by the use of Hollywood-style music and special effects. A significant feature of these films is the incorporation of a "red song", which is a song written as propaganda to support the People's Republic of China. By revolving the film around the motif of a red song, the film is able to gain traction at the box office as songs are generally thought to be more accessible than a film. Theoretically, once the red song dominates the charts, it will stir interest in the film that which it accompanies.

Main melody dramas are often subsidized by the state and have free access to government and military personnel. The Chinese government spends between "one and two million RMBs" annually to support the production of films in the main melody genre. August First Film Studio, the film and TV production arm of the People's Liberation Army, is a studio that produces main melody cinema. Main melody films, which often depict past military engagements or are biopics of first-generation CCP leaders, have won several Best Picture prizes at the Golden Rooster Awards. Some of the more famous main melody dramas include the ten-hour epic Decisive Engagement (大决战, 1991), directed by Cai Jiawei, Yang Guangyuan and Wei Lian; The Opium War (1997), directed by Xie Jin; and The Founding of a Republic (2009), directed by Han Sanping and Fifth Generation director Huang Jianxin. The Founding of an Army (2017) was commissioned by the government to celebrate the 90th anniversary of the People's Liberation Army, and is the third instalment in The Founding of a Republic series. The film featured many young Chinese pop singers that are already well-established in the industry, including Li Yifeng, Liu Haoran, and Lay Zhang, so as to further the film's reputation as a main melody drama.

The sixth generation

When faced with the complexity of real society, their hands and feet quiver, and they deliriously shoot a bunch of childish fairy tales

— The sixth generation director Jia Zhangke's accusation of China's older filmmakers in an essay.

The post-1990 era has been labeled the "return of the amateur filmmaker" as state censorship policies after the 1989 Tiananmen Square protests and massacre produced an edgy underground film movement loosely referred to as the Sixth Generation. Owing to the lack of state funding and backing, these films were shot quickly and cheaply, 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 cinéma vérité than the often lush, far more considered productions of the Fifth Generation. 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 as affected by disorientation, rebellion and dissatisfaction with China's contemporary social marketing economic tensions and comprehensive cultural background. Many were made with an extremely low budget (an example is Jia Zhangke, who shoots on digital video, and formerly on 16 mm; Wang Xiaoshuai's The Days (1993) was made for US$10,000). The title and subjects of many of these films reflect the Sixth Generation's concerns. The Sixth Generation takes an interest in marginalized individuals and the less represented fringes of society. For example, Zhang Yuan's hand-held Beijing Bastards (1993) focuses on youth punk subculture, featuring artists like Cui Jian, Dou Wei and He Yong frowned upon by many state authorities, while Jia Zhangke's debut film Xiao Wu (1997) concerns a provincial pickpocket. While many Fifth Generation filmmakers have become darlings of mainstream Chinese culture, Sixth Generation filmmakers have often experienced harsh treatment by the state's censorship and regulatory system, despite their success at international film festivals and arthouse markets.

As the Sixth Generation gained international exposure, many subsequent movies were joint ventures and projects with international backers, but remained quite resolutely low-key and low budget. Jia's Platform (2000) was funded in part by Takeshi Kitano's production house, while his Still Life was shot on HD video. 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, sharply contrasts with the works of Fifth Generation Chinese directors like Zhang Yimou and Chen Kaige who were at the time producing House of Flying Daggers (2004) and The Promise (2005). It featured no star of international renown and was acted mostly by non-professionals.

Many Sixth Generation films have highlighted the negative attributes of China's entry into the modern capitalist market. Li Yang's Blind Shaft (2003) for example, is an account of two murderous con-men in the unregulated and notoriously dangerous mining industry of northern China. (Li refused the tag of Sixth Generation, although admitted he was not Fifth Generation). While Jia Zhangke's The World (2004) emphasizes the emptiness of globalization in the backdrop of an internationally themed amusement park.

Some of the more prolific Sixth Generation directors to have emerged are Wang Xiaoshuai (The Days, Beijing Bicycle, So Long, My Son), Zhang Yuan (Beijing Bastards, East Palace West Palace), Jia Zhangke (Xiao Wu, Unknown Pleasures, Platform, The World, A Touch of Sin, Mountains May Depart, Ash Is Purest White), He Jianjun (Postman) and Lou Ye (Suzhou River, Summer Palace). One director of their generation who does not share most of the concerns of the Sixth Generation is Lu Chuan (Kekexili: Mountain Patrol, 2004; City of Life and Death, 2010).

Notable Sixth Generation directors

In the 2018 Cannes Film Festival, two of China's Sixth generation filmmakers, Jia Zhangke and Zhang Meng – whose grim works transformed Chinese cinema in the 1990s – showed on the French Riviera. While both directors represent Chinese cinema, their profiles are quite different. The 49-year-old Jia set up the Pingyao International Film Festival in 2017 and on the other hand is Zhang, a 56-year-old film school professor who spent years working on government commissions and domestic TV shows after struggling with his own projects. Despite their different profiles, they mark an important cornerstone in Chinese cinema and are both credited with bringing Chinese movies to the international big screen. Chinese director Jia Zhangke's latest film Ash Is Purest White has been selected to compete in the official competition for the Palme d'Or of the 71st Cannes Film Festival, the highest prize awarded at the film festival. It is Jia's fifth movie, a gangster revenge drama that is his most expensive and mainstream film to date. Back in 2013, Jia won Best Screenplay Award for A Touch of Sin, following nominations for Unknown Pleasures in 2002 and 24 City in 2008. In 2014, he was a member of the official jury and the following year his film Mountains May Depart was nominated. According to entertainment website Variety, a record number of Chinese films were submitted this year but only Jia's romantic drama was selected to compete for the Palme d'Or. Meanwhile, Zhang will make his debut at Cannes with The Pluto Moment, a slow-moving relationship drama about a team of filmmakers scouting for locations and musical talent in China's rural hinterland. The film is Zhang's highest profile production so far, as it stars actor Wang Xuebing in the leading role. The film was partly financed by iQiyi, the company behind one of China's most popular online video browsing sharing sites. Diao Yinan is also a notable member of the sixth generation whose works include Black Coal Thin Ice, Wild Goose Lake, Night Train and Uniform which have premiered at festivals such as Cannes and received acclaim abroad.

Other directors

He Ping is a director of mostly Western-like films set in Chinese locale. His Swordsmen in Double Flag Town (1991) and Sun Valley (1995) explore narratives set in the sparse terrain of West China near the Gobi Desert. His historical drama Red Firecracker, Green Firecracker (1994) won a myriad of prizes home and abroad.

Recent cinema has seen Chinese cinematographers direct some acclaimed films. Other than Zhang Yimou, Lü Yue made 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 cinematographer who made films (Jasmine Women, 2004) and TV series. There are actors who straddle the dual roles of acting and directing. Xu Jinglei, a popular Chinese actress, has made six movies to date. Her second film Letter from an Unknown Woman (2004) landed her the San Sebastián International Film Festival Best Director award. Another popular actress and director is Zhao Wei, whose directorial debut So Young (2013) was a huge box office and critical success.

The most highly regarded Chinese actor-director is undoubtedly Jiang Wen, who has directed several critically acclaimed movies while following on his acting career. His directorial debut, In the Heat of the Sun (1994) was the first PRC film to win Best Picture at the Golden Horse Film Awards held in Taiwan. His other films, like Devils on the Doorstep (2000, Cannes Grand Prix) and Let the Bullets Fly (2010), were similarly well received. By the early 2011, Let the Bullets Fly had become the highest grossing domestic film in China's history.

Generation-independent movement

Растет число независимых кинематографистов седьмого или постшестого поколения, снимающих фильмы с чрезвычайно низким бюджетом и использующих цифровое оборудование. Это так называемые dGeneration (цифровые). Эти фильмы, как и фильмы кинематографистов шестого поколения, в основном снимаются за пределами китайской киносистемы и демонстрируются в основном на международных кинофестивалях. Ин Лян и Цзянь И — режиссеры этого поколения. Инь « Забирая отца домой» (2005) и «Другая половина» (2006) представляют тенденции развития художественного фильма. Лю Цзяинь снял два художественных фильма dGeneration: Oxhide (2004) и Oxhide II (2010), стирая грань между документальным и повествовательным фильмом. «Бычья шкура» , созданная Лю, когда она училась киноискусству, изображает ее самого и ее родителей в их клаустрофобной пекинской квартире в повествовании, получившем высокую оценку критиков. «Сидящий слон» считается одним из величайших кинодебютов китайского кино, а также единственным фильмом покойного Ху Бо .

движение

Два десятилетия реформ и коммерциализации привели к драматическим социальным изменениям в материковом Китае, которые нашли отражение не только в художественных фильмах, но и в растущем движении документального кино. У Вэньгуана 70-минутный фильм «Безумие в Пекине: Последние мечтатели » (1990) сейчас считается одной из первых работ этого « Нового документального движения » (НДД) в Китае. «Бумминг» , сделанный между 1988 и 1990 годами, содержит интервью с пятью молодыми художниками, зарабатывающими на жизнь в Пекине , в соответствии с уполномоченными государством задачами. Документальный фильм , снятый на видеокамеру , заканчивается тем, что четверо художников уезжают за границу после протестов и резни на площади Тяньаньмэнь в 1989 году. Танец с сельскохозяйственными рабочими (2001) - еще один документальный фильм Ву.

Еще один документальный фильм, получивший международное признание, — Ван Бина девятичасовой рассказ о деиндустриализации «Ти Си Цюй: К западу от путей» (2003). Последующие документальные фильмы Вана «Хе Фэнмин» (2007 г.), «Сырая нефть» (2008 г.), «Человек без имени» (2009 г.), «Три сестры» (2012 г.) и «Фэн ай» (2013 г.) укрепили его репутацию ведущего документалиста движения.

Ли Хун , первая женщина в НДМ, в книге «Из Феникс-Бридж» (1997) рассказывает историю четырех молодых женщин, которые, переехав из сельской местности в большие города, как и миллионы других мужчин и женщин, приехали в Пекин, чтобы добиться успеха. жизнь.

Движение нового документального кино в последнее время совпало с кинопроизводством dGeneration, при этом большинство документальных фильмов снимаются дешево и независимо в цифровом формате. Сюй Синя » « Карамай (2010), Чжао Ляна » « Бегемот , Хуан Вэйкая » « Беспорядок (2009), Чжао Даюна » «Город-призрак (2009), Ду Хайбина » «1428 (2009), Сюй «Гадалка » Дуна ( 2009) и Ли Нина » «Лента (2010) были сняты в цифровом формате. Все они оказали свое влияние на международную документальную сцену, а использование цифрового формата позволяет создавать произведения большей длины.

Анимация

Основные статьи: Анимация в Китае и История анимации в Китае.

До 1950-х годов

Вдохновленные успехом диснеевской анимации, пионеры-самоучки братья Ван , Ван Лаймин и Ван Гучан в 1920-х годах сняли первый короткометражный китайский анимационный фильм , положив тем самым начало истории китайской анимации. (Чэнь Юаньюань 175) Многие игровые фильмы республиканской эпохи также включали анимационные эпизоды.

В 1937 году братья Ван решили продюсировать «Железный веер принцессы » , который стал первым китайским анимационным художественным фильмом и четвертым после американских художественных фильмов « Белоснежка» , «Путешествия Гулливера» и «Приключения Пиноккио» . Именно в это время китайская анимация как вид искусства приобрела известность на мировой арене. Завершенный в 1941 году фильм был выпущен компанией China United Pictures и вызвал большой резонанс в Азии. Японский аниматор Сигэру Тэдзука однажды сказал, что после просмотра мультфильма он отказался от медицины и решил заняться анимацией.

1950–1980-е годы

В эту золотую эпоху китайская анимация разработала множество стилей, включая чернильную анимацию, анимацию игры теней, кукольную анимацию и так далее. Одними из наиболее представительных произведений являются 《大闹天宫》 «Гвалба на небесах» , 《哪吒闹海》 «Восстание Нэчжи в море» и 《天书奇谈》 « Небесная книга », которые также заслужили высокую оценку и многочисленные награды в мире.

1980–1990-е годы

После периода реформ Дэн Сяопина и «открытия» Китая были выпущены фильмы 《葫芦兄弟》 Братья Калабаш , 《黑猫警长》 Шериф черной кошки , 《阿凡提》 История Аванти и другие впечатляющие анимационные фильмы. Однако в то время Китай по-прежнему отдавал предпочтение более уникальным анимационным произведениям Японии, созданным под американским и европейским влиянием, по сравнению с менее продвинутыми отечественными анимационными произведениями.

1990–2010-е годы

В 1990-е годы цифровые методы производства заменили методы ручного рисования; однако, даже с использованием передовых технологий, ни одна анимационная работа не была признана прорывным фильмом. Анимационные фильмы, которые пытались удовлетворить все возрастные группы, такие как «Лотосовый фонарь» и «Штормовое разрешение» , не привлекли особого внимания. Единственными анимационными произведениями, которые, казалось, достигли популярности, были те, которые были предназначены для детей, такие как «Приятный козел» и «Большой большой волк » 《喜羊羊与灰太狼》.

2010-е – настоящее время

За этот период технический уровень отечественного анимационного производства в Китае был полностью установлен, а 3D-анимационные фильмы стали основным направлением. Однако по мере того, как в Китай импортируется все больше и больше иностранных фильмов (например, из Японии, Европы и США), китайские анимационные произведения остаются в тени этих иностранных анимационных фильмов.

И только с выпуском компьютерного анимационного фильма « Король обезьян: Герой возвращается в 2015 году» китайские анимационные работы вернули себе бразды правления. Фильм имел огромный успех и побил рекорд китайских отечественных анимационных фильмов, собрав в прокате в Китае 956 миллионов юаней. После успеха « Путешествия на Запад» было выпущено еще несколько высококачественных анимационных фильмов, таких как « Большая рыба и бегония» и « Белая змея » . Хотя ни один из этих фильмов не добился успеха в прокате, они все больше и больше интересовали кинематографистов к анимационным произведениям.

Все изменилось с появлением революционного анимационного фильма 《哪吒之魔童降世》 Ne Zha . Выпущенный в 2019 году, он стал вторым по прибылям фильмом всех времен в Китае, самым кассовым неанглоязычным анимационным фильмом и самым кассовым анимационным фильмом на отдельной территории. Именно благодаря этому фильму китайские анимационные фильмы как средство массовой информации окончательно сломали в Китае представление о том, что отечественные анимационные фильмы предназначены только для детей. Благодаря Nezha и ​​дополнительному продукту Jiang Ziya китайская анимация теперь стала известна как настоящий источник развлечений для всех возрастов.

новое китайское

Коммерческие успехи

С либерализацией Китая в конце 1970-х годов и его открытием для иностранных рынков коммерческие соображения оказали свое влияние на кинопроизводство после 1980-х годов. Традиционно показываемые артхаусные фильмы редко приносят достаточно денег, чтобы окупиться. Примером может служить фильм режиссера «Пятого поколения» Тянь Чжуанчжуана «Конокрад» (1986), повествовательный фильм с минимальным диалогом о тибетском конокраде. Фильм, демонстрирующий экзотические пейзажи, был хорошо принят китайской и некоторыми западными артхаусными зрителями, но имел плохие кассовые сборы. Более поздний фильм Тиана «Воин и волк» (2010) потерпел аналогичный коммерческий провал. До этого были примеры успешных коммерческих фильмов в период после либерализации. Одним из них был романтический фильм «Роман на горе Лу» (1980), который имел успех у пожилых китайцев. Этот фильм вошел в Книгу рекордов Гиннеса как самый продолжительный фильм, показанный с первого раза . Джета Ли Кинематографический дебют «Храм Шаолинь» (1982) мгновенно стал хитом дома и за рубежом ( в Японии и Юго-Восточной Азии ). например, Еще одним успешным коммерческим фильмом стал Убийство в 405 году» (405谋杀案, 1980). убийственный триллер «

Фильм Фэн Сяогана « Фабрика грез» (1997) был провозглашен поворотным моментом в китайской киноиндустрии, « хэсуй пиан» ( китайский новогодний фильм), продемонстрировавший жизнеспособность коммерческой модели в социалистической рыночной экономике Китая. Фэн стал одним из самых успешных коммерческих директоров после 1997 года. Почти все его фильмы принесли высокие доходы внутри страны. в то время как он использовал коллег по фильму из числа этнических китайцев, таких как Розамунд Кван , Жаклин Ву , Рене Лю и Шу Ци , чтобы повысить привлекательность своих фильмов.

В десятилетие после 2010 года из-за наплыва голливудских фильмов (хотя их ежегодное количество сокращается) отечественное кино Китая сталкивается с растущими проблемами. Индустрия растет, и отечественные фильмы начинают достигать таких же кассовых сборов, как крупные голливудские блокбастеры. Однако не все отечественные фильмы успешны в финансовом отношении. В январе 2010 года » Джеймса Кэмерона был «Аватар снят с показа не-3D-кинотеатров для биографического фильма Ху Мэй «Конфуций» , но этот шаг вызвал негативную реакцию на фильм Ху. Фильм Чжан Яна » 2005 года «Подсолнух также принес мало денег, но его более ранний малобюджетный фильм «Пряный суп любви» (1997) собрал в десять раз больше бюджета в 3 миллиона йен. Аналогично, 2006 года «Crazy Stone» был хит выпущен всего за 3 миллиона гонконгских долларов/400 000 долларов США. Фэна В 2009–2011 годах «Афтершок» Цзяна Вэня (2009) и «Пусть пули летят» (2010) стали самыми кассовыми отечественными фильмами Китая: «Афтершок» заработал 670 миллионов йен (105 миллионов долларов США). и «Пусть пули летят» — 674 миллиона йен (110 миллионов долларов США). «Затерянные в Таиланде» (2012) стал первым китайским фильмом, « кассовые сборы которого составили 1 миллиард юаней, а Охота на монстров» (2015) стала первым фильмом, кассовые сборы которого достигли 2 миллиардов юаней. По состоянию на 2021 год 9 из 10 самых кассовых фильмов Китая являются отечественным производством. 8 февраля 2016 года кассовые сборы Китая установили новый рекорд валовой выручки за один день - 660 миллионов юаней, побив предыдущий рекорд в 425 миллионов юаней, установленный 18 июля 2015 года. Также в феврале 2016 года «Русалка » режиссёра Стивена Чоу стала самым кассовым фильмом Китая, обогнав « Охоту на монстров» . Это также первый фильм, сбор которого составил 3 миллиарда юаней.

Под влиянием голливудских научно-фантастических фильмов, таких как «Прометей» , опубликованных 8 июня 2012 года, такие жанры, особенно фильмы о космической науке, в последние годы быстро выросли на китайском кинорынке. 5 февраля 2019 года фильм Блуждающая земля» « Франта Гво собрал во всем мире 699,8 миллиона долларов, став третьим по прибылям фильмом в истории китайского кино.

международное кино и успехи

Режиссер Цзя Чжанке на Международном фестивале цифрового кино Skip City в Кавагути, Сайтама, Япония, 22 июля 2005 г.

Хуан Сяомин , китайский актёр, певец и модель.

С конца 1980-х и постепенно в 2000-е китайские фильмы пользовались значительными кассовыми сборами за рубежом. Ранее его смотрели только кинематографисты, но его глобальная привлекательность возросла после международных кассовых сборов и успеха у критиков Энга Ли исторического « фильма Крадущийся тигр, затаившийся дракон» , получившего премию «Оскар» за лучший фильм на иностранном языке в 2000 году. привлекательность благодаря участию звезд со всех уголков китайскоязычного мира. Он познакомил многих с китайским кино (и особенно с жанром уся) и увеличил популярность многих более ранних китайских фильмов. На сегодняшний день «Крадущийся тигр» остается самым коммерчески успешным фильмом на иностранном языке в истории США.

» Чжана Имоу В 2002 году фильм «Герой имел еще один международный кассовый успех. В его актерский состав вошли известные актеры из материкового Китая и Гонконга, которые также были в некоторой степени известны на Западе, в том числе Джет Ли, Чжан Цзыи , Мэгги Чун и Тони Люн Чиу-Вай . Несмотря на критику со стороны некоторых, что эти два фильма в некоторой степени соответствуют западным вкусам, «Герой» имел феноменальный успех в большей части Азии и в течение двух недель возглавлял кассовые сборы США, заработав достаточно только в США, чтобы покрыть затраты на производство.

Другие фильмы, такие как «Прощай, моя наложница» , «2046» , «Река Сучжоу» , «Дорога домой» и «Дом летающих кинжалов», получили признание критиков во всем мире. Hengdian World Studios можно назвать «китайским Голливудом» общей площадью до 330 га. и 13 стрелковых баз, включая копию Запретного города 1:1 .

Цзян Циньцинь на церемонии открытия Токийского международного кинофестиваля 2016

Успех фильмов «Крадущийся тигр», «Скрытый дракон» и «Герой» затрудняет демаркацию границы между «материково-китайским» кино и более международным «китайскоязычным кино». Например, «Крадущийся тигр» снял американский режиссер тайваньского происхождения ( Энг Ли ), который часто работает в Голливуде. В его панкитайские главные роли входят актеры и актрисы материкового Китая ( Чжан Цзыи ), Гонконга ( Чоу Юн-Фат ), Тайваня ( Чан Чен ) и Малайзии ( Мишель Йео ); Продюсерами фильма выступили кинокомпании Китая, Америки, Гонконга и Тайваня. Аналогично, китайскоязычный фильм Ли «Жажда, осторожность» (2007) собрал команду и актеров из материкового Китая, Гонконга и Тайваня и включает в себя оркестровую партитуру французского композитора Александра Деспла . Это слияние людей, ресурсов и опыта из трех регионов, а также из Восточной Азии и мира в целом знаменует собой движение китайскоязычного кино в сферу крупномасштабного международного влияния. Другие примеры пленок этой формы включают: «Обещание» (2005), «Банкет» (2006), «Бесстрашный» (2006), «Полевые командиры» (2007), «Телохранители и убийцы» (2009) и «Красный утес» (2008–09). Легкость, с которой этнические китайские актрисы и актеры перемещаются по материку и Гонконгу, значительно увеличила количество совместных производств в китайскоязычном кино. Во многих из этих фильмов также участвуют южнокорейские или японские актеры, чтобы привлечь внимание своих соседей из Восточной Азии. Некоторые артисты, родом из материка, такие как Ху Цзюнь , Чжан Цзыи , Тан Вэй и Чжоу Сюнь , получили вид на жительство в Гонконге по программе приема качественных мигрантов и снимались во многих гонконгских постановках.

Промышленность

Кассовые сборы и экраны

В 1983 году в Китае насчитывалось 162 000 проекционных единиц по сравнению с менее чем 600 на момент основания КНР в 1949 году.

В 1998 году Министерство культуры возобновило практику мобильных сельских кинотеатров в рамках своего проекта 2131, целью которого было показывать один фильм в месяц на деревню в сельской местности Китая и модернизировать аналоговое оборудование до цифровых проекторов. В 2003 году центральное правительство предоставило Тибету и Синьцзяну более 400 кинопрокатных фургонов для показа фильмов в попытке противостоять тому, что правительство считало сепаратизмом и вестернизацией.

В 2010 году китайское кино было третьей по величине киноиндустрией по количеству художественных фильмов, выпускаемых ежегодно. В 2013 году валовые кассовые сборы Китая составили 21,8 миллиарда йен ( 3,6 миллиарда долларов США ), что является вторым по величине кинорынком в мире по кассовым сборам. В январе 2013 года фильм «Затерянные в Таиланде» (2012) стал первым китайским фильмом, кассовые сборы которого составили 1 миллиард йен. По состоянию на май 2013 года 7 из 10 самых кассовых фильмов Китая были отечественного производства. По состоянию на 2014 год около половины всех билетов продается через Интернет, при этом крупнейшими сайтами по продаже билетов являются Maoyan.com (82 миллиона), Gewara.com (45 миллионов) и Wepiao.com (28 миллионов). В 2014 году китайские фильмы заработали йен . за пределами Китая 1,87 миллиарда К декабрю 2013 года в стране было 17 000 кинозалов. К 6 января 2014 года в стране насчитывалось 18 195 кинозалов. В Большом Китае имеется около 251 кинотеатра IMAX. действовало 299 сетей кинотеатров (252 сельских, 47 городских), 5813 кинотеатров и 24317 кинозалов. В 2014 году в стране

В 2015 году в стране было добавлено около 8035 экранов (в среднем 22 новых экрана в день, что увеличило их общее количество примерно на 40% до примерно 31627 экранов, что примерно на 7373 меньше количества экранов в Соединенных Штатах). На китайские фильмы в 2015 году пришлось 61,48% продаж билетов (по сравнению с 54% в прошлом году), причем более 60% продаж билетов было осуществлено онлайн. В 2015 году средняя цена билета снизилась примерно на 2,5% до $5,36. Также наблюдался рост посещаемости на 51,08%: в 2015 году билеты в кино купили 1,26 миллиарда человек. В 2015 году китайские фильмы собрали за рубежом 427 миллионов долларов США . В течение недели китайского Нового года 2016 года страна установила новый рекорд по самым высоким кассовым сборам за одну неделю на одной территории - 548 миллионов долларов США , обогнав предыдущий рекорд в 529,6 миллионов долларов США , установленный с 26 декабря 2015 года по 1 января 2016 года в Китае. США и Канада. В 2016 году китайские фильмы собрали на зарубежных рынках 3,83 миллиарда юаней ( 550 миллионов долларов США ).

В 2020 году рынок фильмов Китая превзошел рынок США и стал крупнейшим подобным рынком в мире.

Год	Валовой (в миллиардах юань )	Одомашненный делиться	Билеты проданы (в миллионах)	Количество экраны
2003	меньше 1
2004	1.5
2005	2	60%	157.2	4,425
2006	2.67		176.2	3,034 или 4753
2007	3.33	55%	195.8	3,527 или 5630
2008	4.34	61%	209.8	4,097 или 5722
2009	6.21	56%	263.8	4,723 или 6323
2010	10.17	56%	290	6,256 или 7831
2011	13.12	54%	370	9,286
2012	17.07	48.5%	462
2013	21.77	59%	612	18,195
2014	29.6	55%	830	23,600
2015	44	61.6%	1,260	31,627
2016	45.71	58.33%	1,370	41,179
2017	55.9	53.8%	1,620	50,776
2018	60.98	62.2%	1720	60,000

Кинокомпании

По состоянию на апрель 2015 года крупнейшей китайской кинокомпанией по стоимости была Alibaba Pictures (8,77 млрд долларов США). Другие крупные компании включают Huayi Brothers Media (7,9 млрд долларов США), Enlight Media (5,98 млрд долларов США) и Bona Film Group (542 млн долларов США). Крупнейшими дистрибьюторами по доле рынка в 2014 году были: China Film Group (32,8%), Huaxia Film (22,89%), Enlight Pictures (7,75%), Bona Film Group (5,99%), Wanda Media (5,2%), Le Vision Pictures. (4,1%), Huayi Brothers (2,26%), United Exhibitor Partners (2%), Heng Ye Film Distribution (1,77%) и Beijing Anshi Yingna Entertainment (1,52%). Крупнейшими сетями кинотеатров в 2014 году по кассовым сборам были: Wanda Cinema Line ( 676,96 миллиона долларов США ), China Film Stellar (393,35 миллиона долларов), Dadi Theater Circuit (378,17 миллиона), Shanghai United Circuit (355,07 миллиона долларов), Guangzhou Jiany Zhujiang (335,39 миллиона долларов ). миллионов), China Film South Cinema Circuit (318,71 миллиона), Zhejiang Time Cinema (190,53 миллиона), China Film Group Digital Cinema Line (177,42 миллиона), Hengdian Cinema Line (170,15 миллиона) и Пекинской ассоциации нового кино (163,09 миллиона).

негосударственные)

Huayi Brothers — самая мощная независимая (т. е. негосударственная) развлекательная компания Китая. Huayi Brothers со штаб-квартирой в Пекине — многопрофильная компания, занимающаяся производством, распространением фильмов и телепередач, театральными выставками, а также управлением талантами. » 2004 года Известные фильмы включают «Kung Fu Hustle ; 2010 года и Aftershock , который имел рейтинг 91% на сайте Rotten Tomatoes.

Beijing Enlight Media специализируется на боевиках и романтических жанрах. Enlight обычно помещает несколько фильмов в топ-20 самых кассовых фильмов Китая. Enlight также является крупным игроком в сфере производства и распространения телесериалов в Китае. Под руководством генерального директора Вана Чантяня публичная пекинская компания достигла рыночной капитализации почти в 1 миллиард долларов США.

См. также

• Кино Азии
• Восточноазиатское кино
• Китайская анимация
• Китайское искусство
• фильмы о кунг-фу
• Киногород Хайкоу
• Восточный фильм Метрополис
• Киностудия «Первое Августа»

Списки

• Список китайских актеров
• Список китайских актрис
• Список китайских режиссеров
• Список китайских фильмов
• Список китайских кинопроизводителей (до КНР)
• Список самых кассовых фильмов Китая
• Список кинопроизводителей по странам # Китай
• Список самых кассовых неанглоязычных фильмов

Ссылки

Источники

• Бордвелл, Дэвид; Томпсон, Кристин (2010). История кино: введение (3-е изд.). Нью-Йорк, штат Нью-Йорк: Высшее образование Макгроу-Хилла. ISBN  978-0-07-338613-3 .
• Ноуэлл-Смит, Джеффри, изд. (1997). Оксфордская история мирового кино (изд. В мягкой обложке). Оксфорд: Издательство Оксфордского университета. ISBN  978-0-19-874242-5 .

Дальнейшее чтение

• Карло Челли. «Китайский конфуцианский женоненавистнический национализм» Национальная идентичность в мировом кино: как фильмы объясняют мир . Пэлгрейв Макмиллан 2013, 1–22.
• Рей Чоу , Первобытные страсти: визуальность, сексуальность, этнография и современное китайское кино , издательство Колумбийского университета , 1995.
• Ченг, Джим, Аннотированная библиография для изучения китайского кино , Hong Kong University Press, 2004.
• Шуцинь Цуй, Женщины через объектив: гендер и нация в веке китайского кино , University of Hawaii Press, 2003.
• Дай Цзиньхуа, Кино и желание: феминистский марксизм и культурная политика в творчестве Дай Цзиньхуа , ред. Цзин Ван и Тани Э. Барлоу. Лондон: Версо 2002.
• Рольф Гизен (2015). Китайская анимация: история и фильмография, 1922–2012 гг . Иллюстрировано Брин Барнард. МакФарланд. ISBN  978-1-4766-1552-3 . Проверено 17 мая 2014 г.
• Ху, Линдан (2017). «Спасение женского желания из революционной истории: китайское женское кино 1980-х». Азиатский журнал женских исследований . 23 (1): 49–65. дои : 10.1080/12259276.2017.1279890 . S2CID   218771001 .
• Гарри Х. Куошу, Целлулоидный Китай: кинематографические встречи с культурой и обществом , издательство Южного Иллинойского университета, 2002 г. - введение, подробно обсуждаются 15 фильмов.
• Джей Лейда , Дяньин , MIT Press, 1972.
• Лайквань Панг, Построение нового Китая в кино: китайское левое кинодвижение, 1932–1937 , Rowman & Littlefield Pub Inc, 2002.
• Кикемель, Мари-Клер; Пассек, Жан-Лу , ред. (1985). Китайское кино . Париж: Национальный центр искусства и культуры Жоржа Помпиду. ISBN  978-2-85850-263-9 . OCLC   11965661 .
• Ри, Кристофер. Классика китайского кино, 1922–1949. Нью-Йорк: Издательство Колумбийского университета, 2021. ISBN 9780231188135.
• Сейо Накадзима. 2016. «Происхождение, структура и трансформация современного китайского кинематографического поля: глобальные связи и национальные преломления». Глобальные средства массовой информации и коммуникации , том 12, номер 1, стр. 85–108. [1]
• Чжэнь Ни, Крис Берри, Мемуары Пекинской киноакадемии , Duke University Press, 2002.
• Семзель, Джордж, изд. «Китайский фильм: состояние искусства в Народной Республике», Прегер, 1987.
• Семсель, Джордж, Ся Хун и Хоу Цзяньпин, ред. Теория китайского кино: Путеводитель по новой эре , Praeger, 1990.
• Семсель, Джордж, Чэнь Сихэ и Ся Хун, ред. Фильм в современном Китае: критические дебаты, 1979–1989», Praeger, 1993.
• Гэри Г. Сюй, Sinascape: современное китайское кино , Rowman & Littlefield, 2007.
• Эмили Юэ-ю Йе и Даррел Уильям Дэвис. 2008. «Ренационализация киноиндустрии Китая: тематическое исследование China Film Group и коммерциализация фильмов». Журнал китайского кино , том 2, выпуск 1, стр. 37–51. [2]
• Инцзинь Чжан (автор), Живэй Сяо (автор, редактор), Энциклопедия китайского кино , Routledge, 1998.
• Инджин Чжан, редактор, Кино и городская культура в Шанхае, 1922–1943 , Стэнфорд, Калифорния: Издательство Стэнфордского университета, 1999.
• Инцзин Чжан, Китайское национальное кино (серия национальных кинотеатров), Routledge 2004 – общее введение.
• Ин Чжу , «Китайское кино в эпоху реформ: изобретательность системы», Вестпорт, Коннектикут: Praeger, 2003.
• Ин Чжу , «Искусство, политика и коммерция в китайском кино», под редакцией Стэнли Розена, Hong Kong University Press, 2010 г.
• Ин Чжу и Сейо Накадзима, «Эволюция китайского кино как индустрии», стр. 17–33 в Стэнли Розене и Ин Чжу, ред., Искусство, политика и коммерция в китайском кино, Hong Kong University Press, 2010. [3] ]
• Ван, Линчжэнь. Китайское женское кино: транснациональные контексты . Издательство Колумбийского университета , 13 августа 2013 г. ISBN   0-231-52744-6 , 9780231527446.

Внешние ссылки

• Классика китайского кино — веб-сайт Университета Британской Колумбии, на котором представлено более 30 ранних китайских фильмов с английскими субтитрами, онлайн-курс по раннему китайскому кино и другие ресурсы.
• Китайское кино в Керли
• Журнал китайского кино
• Ресурсный центр MCLC-Медиа
• Китайское зеркало - журнал истории китайского кино