Issues in International and East Asia Studies: Today's Chinese Cinema
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Authors
Markel, Stewart B.
Issue Date
1995
Type
Thesis
Language
en_US
Keywords
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Abstract
I offer here a compact history of the cinema in China in order to provide a basis
for much of the political and social impact of today's cinema. Also included is an
overview of the Beijing Film Academy, China's only film school and the largest in Asia.
The students studying there today come from a variety of backgrounds and set numerous
goals for themselves. While in Beijing I quickly found I could easily relate to them and
spent a great deal of time at the academy. By looking at the history and current structure
of the academy I was able to understand how China has traditionally trained its
filmmakers. The attitudes and ideas expressed by students at the academy show what
kind of filmmakers will comprise the future Chinese film industry. The last section on
current issues in Chinese cinema outlines some of the debate surround the future of the
art form in China. The majority of this material comes from interviews with filmmakers
at the Sundance Film Festival In Beijing '95, which was held during my stay in China.
The questions about market forces and what audiences filmmakers should seek are
fundamental to the future of Chinese cinema.
Finally I offer a few short summaries of recent releases I was able to see while
in Beijing. These I include to give the reader an idea of subject matter found in today's
Chinese film. The very last section is a glossary of film terms with translations that I
and Sophia Wong complied while attending a course at the Beijing Film Academy. This
glossary was extremely helpful when talking with filmmakers and students about their
craft.
This project is presented as a research tool for the study of Chinese film. I offer
few conclusions or opinions, rather I present the sum of my research on the subject.
Chinese cinema, like any world cinema, is unique to its country of origin; the history,
people, and culture of China make it one of a kind. Yet the industry is full of diversity
with differing schools of thought and style, large and small studios, and well known
established filmmakers as well as independent directors. All of this makes Chinese
cinema difficult to categorize, rather than attempt the impossible what I give here is a
description of film in China.
Description
v, 77 p.
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