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Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Com pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 Order Number 9420937 The major developments and their ideological implications of Chinese him and him education since the Cultural Revolution Chen, Xihe, Ph.D. The Ohio State University, 1994 UMI 300 N. Zeeb Rd. Ann Aibor, MI 48106 THE MAJOR DEVELOPMENTS AND THEIR IDEOLOGICAL IMPLICATIONS OF CHINESE FILM AND FILM EDUCATION SINCE THE CULTURAL REVOLUTION DISSERTATION Presented in Partial Fulfillment of the requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Xihe Chen, B.A., M.A. ***** The Ohio State University 1994 Dissertation Committee: Approved by Kenneth Marantz Arthur Efland g Adviser Robert W. Wagner Department of Art Education Copyright by Xihe Chen 1994 ACKNOWLEDGMENTS I express sincere appreciation to Dr. Kenneth Marantz for his guidance and insight throughout the research. Thanks go to the other members of my advisory committee, Drs. Robert W. Wagner, Arthur Efland and Mojmir Drvota, for their suggestions and comments. Gratitude is also expressed to the Graduate School, the Ohio State University. Without the financial support of the Graduate Student Alumni Research Award, which made my travel to China possible, this study would have been much difficult. VITA 1982 ................ B.A., Department of Chinese Language & Literature, Southwest China Teachers University, Chongqing, China 1984 ................ M.A., Department of Cinema, Arts Academy of China, Beijing, China 1985-1986 .......... Research Fellow, Division of Cinema Studies, China Film Art Research Center & The National Film Archives of China, Beijing, China 1986-1987 .......... Deputy Director, Division of Cinema studies, China Film Art Research Center & The National Film Archives of China, Beijing, China Specially Invited Instructor, The Joint Graduate School of The Beijing Film Academy and China Film Art Research Center, Beijing, China Special Commentator, for the journal, FILM ART, Film Workers Society of China, Beijing. Columnist, BEI-YING HUA BAO, a pictorial of Beijing Film Studio, Beijing. PUBLICATIONS Books: Film in contemporary China (1993), In cooperation with George S. Semsel, Praeger, Westport, Connecticut & London. Cinema and Literature (1987), China film Press, Beijing. in And several dozens of papers in film and Chinese cultural studies Published in Mainland China, Taiwan, Hong Kong, and the United States. FIELDS OF STUDY Major Fields; Art Education IV t a b l e o f c o n t e n t s ACKNOWLEDGMENTS ............................................. ii VITA ......................................................... iii LIST OF TABLES ............................................. vii LIST OF FIGURES ........................................... viii CHAPTER PAGE I. Introduction ........................................... 1 1. The statement of the problem ..................... 1 2. The importance of the problem .................... 4 3. The questions to be addressed .................... 7 4. The methodology of the study ..................... 9 5. The limitations of the study .................... 17 II. Review of Literature ................................ 20 1. Chinese Film ...................................... 20 2. Chinese Film Education............................. 37 III. Chinese Film in Cultural Revolution (1966-76) . 43 1. The Theme of Class Struggle (1973-74) ........... 46 2. The Theme of Going Against Capitalist- Road-Takers (1975-76)..... ........................ 72 IV. Chinese Film in the Transition Period (1976-78) ... 84 1. The Theme of Going Against the Gang of Four .... 84 V. Chinese Film in the New Era (1979-90) .............. 94 1. The Theme of Political Wounds and Xie Jin's Mode (1979-the early 1980’s) .............. 94 2. The Fifth Generation and New Wave (the middle 1980's) ............................ 123 3. Entertainment Film (the late 1980’s) ........... 147 V VI. Chinese Film Education (1960'S-1980'S ) ........... 175 1. The curriculum before the Cultural Revolution . 17 9 2. The Film Education in the Cultural Revolution . 189 3. The Pedagogical Practices in 1978 Classroom ... 190 4. The Changes after 1985 ......................... 197 APPENDICES Filmography ............................................. 205 BIBLIOGRAPHY ................................................ 208 VI LIST OF TABLES TABLE PAGE 1. Categories of Characters in 197 3-74 Films .......... 57 2. Comparison between 1973-74 and 1975-76 Films ...... 78 3. Comparison between 1975-76 and 1977-78 Films ...... 90 4. Social Classification of Characters in 1973-74 Films ................................... 112 5. Social Classification of Characters in Early 80's Films ................................ 112 6. Binary Opposition of Value System in Films from 1973 to Early 80's .................... 118 7. Comparison of Leading Characters in Films from 1973 to Middle 80's ................... 138 8. Comparison of Value System in Films from 1973 to Middle 80's ........................... 140 9. Comparison of Film Modes Since the Cultural Revolution ........................... 170 10. GCR of the Beijing Film Academy .................... 179 11. MFR of the Beijing Film Academy .................... 181 12. EC of the Beijing Film Academy .................... 198 Vll LIST OF FIGURES FIGURES PAGE 1. Major Developments of Chinese F i l m ................. 13 Vlll CHAPTER I. INTRODUCTION I. STATEMENT OF PROBLEM Chinese film, as a major component of Chinese contemporary art and culture, evidenced profoundly significant developments and striking advances during the catalytic years of the 1970's and 1980's. In terms of aesthetics, the traditional and single dramatized pattern was broken down, and modern and diversified styles were established. In terms of ideology, it changed from a propaganda tool of the Communist Party to a medium with various voices. While the development of Chinese film has attracted international attention, no comprehensive, scholarly study has covered and examined the modern period completely. In order to address this significant subject and explore its pivotal developments completely, I have conducted a historical survey of Chinese film entirely 2 covering the period from the Cultural Revolution to the New Era (1966-1989).! Not like the Hollywood film industry, which is controlled by market system, the Chinese film industry used to be dominated by the political system. Following the establishment of the People’s Republic of China in October of 1949, China came under the Communist Party rule and, also, Chinese film came under the Communist Party dominance. The film industry was nationalized soon after 1949. The Ministry of Culture set up a Film Administration Bureau with two main divisions, one concerned with film production and processing and the other with distribution and exhibition. With this establishment, Mao's slogan "Politics takes command!" began to come into full play. The whole film industry (including feature film, documentary and animation production) was required to serve such political purposes as the Party dictated. Chinese film became the tool of politics. Chinese political authority made this relationship an unwritten law. Any dissidence and violence would bring 1. The main part of this research was presented in the conference "Film-China," sponsored by Fu Jen Catholic University (December 1992, Taipei), and is going to be published in the anthology, Film-China: Taiwan, The Mainland, and Hong Kong (January 1994, China Times Inc., Taipei). 3 serious trouble. The film. The Life of Wu Hsum (1950), for example, was praised by everyone, critics and public alike at the time of its release. It was a few months later that Mao Tse-tung saw this film. He reacted by removing the film from all screens, and by removing its director, its author, and most of its cast from film-making altogether. He even wrote a film review in the Party's newspaper to criticize the film publicly (1951). Also, Before the New Director Arrives (1956) was a rare attempt at dangerous satire of authority; it was directed by Liu Pan, whose film career