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The History of Chinese Film

The history of Chinese film has three separate threads of development: Cinema of Hong Kong, Cinema of China, and Cinema of Taiwan. The cinema of Mainland China after 1949 has grown up somewhat suppressed by the Communist regime until recent times, although certain Chinese films are still being routinely censored or banned there but allowed to be played abroad.

Zhang Yimou
Zhāng Yìmóu (张艺谋) (born November 14, 1950) is a China|Chinese filmmaker and cinematographer who made his directorial debut in 1987 with the film Red Sorghum.

An overaged student who was accepted only after extensive appeals, Zhang graduated from the Beijing Film Academy in 1982 along with compatriots Chen Kaige and Tian Zhuangzhuang. He then began working as a cinematographer for the Guangxi Film Studio. Zhang's first work, One and Eight (as director of photography), was made in 1984. Zhang then collaborated with Chen Kaige, the latter acting as director, to photograph one of the defining Chinese films of the 1980s, Yellow Earth (1984), later to be considered the inauguration film for the Chinese Fifth-Generation directors. Zhang continued to work with Chen for the latter's next film, The Big Parade (1985).
A Famous Chinese Director,King Hu
King Hu (胡金铨, April 29, 1931 - January 14, 1997) was a Hong Kong and Taiwan-based China Chinese film director whose wuxia films brought cinema of China Chinese cinema to new technical and artistic heights. Also a noted screenwriter|scriptwriter and set designer, it was his films Come Drink With Me (大醉侠, 1966) and Dragon Gate Inn (龙门客栈, 1967) which inaugurated a generation of wuxia films in the late 1960s.

Hu was born in Beijing, and he emigrated to Hong Kong in 1949. After moving to Hong Kong Hu worked in a variety of occupations, such as advertising consultant, artistic designer and producer for a number of media companies, as well as a part-time English tutor. In 1958 he joined the Shaw Brothers Studio as set decorator, actor, scriptwriter and assistant director. Under the influence of Taiwanese director Li Han-Hsiang, Hu embarked on a directorial career, helping him helm the phenomenally successful The Love Eterne (1963).
Cape No. 7


The biggest box-office hit in Taiwan (tái wān 台湾) last year, costing NT$50 million (US$1.5 million) to make, Cape No. 7 (Hǎi jiǎo qī hào 海角七号) is a 2008 Taiwanese romance comedic music drama film written and directed by Wei Tesheng (wèi shèng 魏德圣), his first full-length motion picture. the movie became a big hit in Taiwan after debuting in August. By October, it had taken in more than NT$400 million at the box office, second only to the worldwide blockbuster "Titanic" in Taiwan’s cinematic history. Before its commercial release, the film was world premiered on June 20, 2008 at the 2008 Taipei Film Festival as the opening film. The film later won 3 awards in this festival.

My Blueberry Nights

My Blueberry NightsIn Wong Kar Wai (wáng jiā wèi 王家卫)'s debut English language film, My Blueberry Nights (lán méi zhī yè 蓝莓之夜), the internationally acclaimed director takes his audience on a dramatic journey across the distance between heartbreak and a new beginning. Seting out on a journey across America, leaving behind a life of memories, a dream and a soulful new friend, all is for the search of something to mend the broken heart. Through individuals, viewers witness the true depths of loneliness and emptiness but hopeful. As the line goes: "It wasn’t so hard to across that street after all, It all depends on the one you’re waiting for on the other side.

Chungking Express

Chungking ExpressChungking Express (chóng qìng sēn lín 重庆森林) was the first of Wong Kar Wai (wáng jiā wèi 王家卫)'s films to gain international plaudits but was actually made as a cinematic exercise to help him regain some perspective in the middle of editing a huge Hong Kong (xiāng gǎng 香港) epic: Ashes of Time. The film, a simple, straight forward character piece that reaches unexpected levels, rightly described as a love note to Hong Kong, tells two different and unconventional love stories connected by having cops and a fast food joint named Chungking Express. Made with a down and dirty feel which probably reflects the production itself as well as the intended style we are brought into the streets of Hong Kong and the bustling effervescence of this city as only Wong can describe, which makes it unparalleled to any other.

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