THE COMMERCE OF POPULAR CULTURE: DID CHINA’S FIFTH GENERATION “SELL OUT”? EL COMERCIO DE LA CULTURA POPULAR: ¿LA QUINTA GENERACIÓN DE CHINA “CLAUDICÓ” ? MIGUEL LLORA* MAGDALENA GUAMAN** Recibido 20 de junio del 2016 Aceptado 22 de agosto del 2016 * Universidad Politécnica de Queretaro. México. ([email protected]) ** Universidad Católica de Cuenca, Centro de Idiomas, Cuenca, Ecuador ([email protected]) Revista PUCE.ISSN 1390-7719.Núm. 103. 3 de mayo de 2016-3 de noviembre de 2016. Miguel Llora, Magdalena Guaman. PP. 371-386 THE COMMERCE OF POPULAR CULTURE: DID CHINA’S FIFTH GENERATION “SELL OUT”? EL COMERCIO DE LA CULTURA POPULAR: ¿LA QUINTA GENERACIÓN DE CHINA “CLAUDICÓ” ? MIGUEL LLORA, MAGDALENA GUAMAN, KEY WORDS: Chinese cinema, fifth generation, artistic integrity, social statement PALABRAS CLAVES: Cine chino, quinta generación, integridad artística, declaración social RESUMEN Hay un carácter específico en la creen que los tipos de películas produ- “claudicación” que se da en la Quinta cidas por la Quinta Generación son una Generación. Zha apenas oculta su incul- representación auténtica de éxitos en sus pación como ella se cuestiona retórica- carreras, no de lo que ellos sienten que su mente si “él [Zhang Yimou] debe su po- cultura debería ser. También se puede de- pularidad a la astuta comercialización de cir que “este tipo de películas es realmen- exotismo oriental hacia Occidente” (Zha, te un lanzamiento por el placer ocasional 1995: 94). Este proceso se caracteriza por de los extranjeros” y cómo se puede ver el “marketing” de la mística de la mujer Zhang Yimou le debe la mayor parte de asiática que juega en las fantasías mascu- su éxito al público extranjero que toda- linas occidentales. Es así que, Gong Li se vía se sorprende con su espectáculo en convirtió en una aclamada actriz porque películas como Héroe (Ying Xiong, 2002) tuvo la oportunidad de participar en mu- (Zha, 1995: 94). Éxito, también descrito chos papeles de películas que ella obtuvo como minglishuangshou: “que ha cose- debido a su poder de ser una estrella. Se chado la fama y la fortuna”, que es un tér- ve que la mayoría de los chinos nativos mino halagador a la del director filosófico. 373 THE COMMERCE OF POPULAR CULTURE: DID CHINA’S FIFTH GENERATION “SELL OUT”? ABSTRACT There is a specific character to the feel that the types of movies produced “selling out” that takes place among the by the Fifth Generation in their later, more Fifth Generation. Zha barely conceals her successful careers, are not an authentic accusation as she rhetorically questions if portrayal of what they feel their culture “he [Zhang Yimou] owes his popularity to to be. It can also be said that this kind of the shrewd marketing of Oriental exotica film is really shot for the casual pleasure to the West” (Zha, 1995: 94). This process of foreigners, as we can see that Zhang is typified by marketing the mystique of Yimou owes most of his success to for- the Asian woman as played out in West- eign audiences who are still amazed by ern male fantasies. Gong Li only became his spectacle in movies such as Hero (Ying an acclaimed actress because she had the xiong, 2002) (Zha, 1995: 94). This success, chance to practice in many movie roles also described as minglishuangshou: “reap- she got, due to her star power. Already ing fame and fortune,” is a complimentary established is that most native Chinese term to that of the philosophical director. INTRODUCTION The cinema of China, as it is the art of cinema began to surge with known in international film circuits, has new life among the eager, yet hardened, been profoundly impacted by the work youth who would become China’s Fifth of Fifth Generation filmmakers, notably Generation. The filmmakers who make Chen Kaige and Zhang Yimou. Although up the famed Fifth Generation graduat- their work has recently become highly ed from the Beijing Film Academy in the acclaimed by international audiences, 1980s. This rogues gallery included nota- their artistic integrity has also come into bles such as Zhang Yimou, Tian Zhuang- question as their movies have become zhuang, and Chen Kaige, among others. more grandiose and Orientalized, as Fifth Generation filmmakers are famous Edward Said would define it. Thus, it is for their unapologetic rejection of the important to understand the integrity of ideological purity of Cultural Revolution the Fifth Generation filmmakers in China cinema. In effect, their narratives focused in order to fully appreciate the perceived instead on ordinary people’s daily lives. cheapening of their films. As soon as Chi- Moreover, they maintained a political na was emancipated from Mao Zedong, edge, taking into account social issues 374 Revista PUCE.ISSN 1390-7719.Núm. 103. 3 de mayo de 2016-3 de noviembre de 2016. Miguel Llora, Magdalena Guaman. PP. 371-386 rather than advocating tired ideology initial development of the Fifth Gener- and recycled policy. ation as “an act of rebellion against the While Cultural Revolution films artistic strictures of Maoism.” (Zha, 1995: used character, these vanguard directors 86) It is clear that Zha chose Chen Kaige focused instead on psychological depth as the premiere intellectual filmmaker of taking their queue from European cin- this emerging generation. She describes ema. In comparison to the recent past, Chen Kaige as zhelidaoyan, or the philo- China was experiencing a new kind of sophical director that would stick to his political and cultural liberalization, with “strenuously experimental films”, no mat- “emancipating the mind” and reinvent- ter how poorly they would be received ing an oppressed culture as their pri- by the mass audience (Zha, 1995 p. 81). mary motivations (Zha, 1995: 86). The If one would consider filmmaking an art, Fifth Generation of filmmakers were in this seems as if it is a good ideal to follow. a unique position to be the first gener- Interestingly enough, this director is ef- ation that could explore the taboos and fectively used as an example to illustrate test the boundaries of filmmaking (al- the transformation from artistic integri- though censors still admonished their ty to Asia-mongering that can be seen material). Zha Jianying describes the within the Fifth Generation. THE FIFTH GENERATION AND THE BEIJING FILM ACADEMY: THE EXEMPLARS - TO LIVE (1994) AND FAREWELL MY CONCUBINE (1993) Fifth Generation Directors, as Live (Huozhe, 1994), despite its triumph as mentioned previously, were the first to a cinematic piece that stands on its own graduate from the Beijing Film Acade- - our only real objection to the movie is my since the Cultural Revolution in Chi- that it does not really reflect the spirit of na. The most notable of these directors the novel. Having said that, although the were Chen Kaige and Zhang Yimou. movie does not hold to the true spirit of Chen Kaige’s first movie, Yellow Earth the novel, it does not diminish the fact (Huang tu di, 1984), we argue, paved the that Zhang Yimou is seen by many as way for contemporary Chinese filmmak- China’s principal modern filmmaker. At ing. Meanwhile, Zhang Yimou directed the core of the movie (and the novel) To Live (Huozhe, 1994). A short note on To is its unflattering depiction of Commu- 375 THE COMMERCE OF POPULAR CULTURE: DID CHINA’S FIFTH GENERATION “SELL OUT”? nism. Predictably, even if it was the Grand his wife and children, they adjust to the Prize winner at the 1994 Cannes Film country’s new leadership. Fugui effects Festival and recipient of the Best Foreign yet another transformation in the mov- Language Film award at the 1995 BAFTA ie much like he does in the novel. While Awards, To Live (Huozhe, 1994) did not do once a lazy “player,” Fugui promises to al- well commercially in China. The movie ter his ways. In the movie, he struggles examines the rise and fall of one family’s to become a better worker and citizen. fortunes, set against the milieu of China’s Conversely, in the novel, he struggles to chaotic 1940s through to the turbulent become a better husband, father, and 1970s. Fugui (Ge You), as in the novel, is person. Fugui’s problems are not over. the never do well son of a once-wealthy The clan begins to realize that there is, family whose compulsion for gambling looming just around the bend, the error as well as his unremitting bad luck caus- of the Great Leap Forward. We argue that es him to finally lose his home in a dice the movie is an examination of China’s game with Long Er (Ni Dabong). Jiazhen new regime being as corrupt and unfeel- (Gong Li), Fugui’s wife, leaves him, and ing as the Kuomintang. he finds himself impecunious until Long As a form of resistance, this mov- Er hands him shadow puppets -- a major ie ranks second to none. To Live (Huozhe, departure from the novel. Fugui studies 1994) (along with other notable movies the art of puppetry and becomes a trav- like Tian Zhuangzhuang’s Blue Kite (Lan eling performer. While on the road, Fugui feng zheng, 1993) and Chen Kaige’s Fare- is arrested by Nationalist forces. The shift well My Concubine (Ba wang bie ji, 1993)1, in narrative proves to be a distinct but spoke out against the excesses of the productive departure from the printed Communist party. This critique resulted narrative. in the Chinese government banning In the novel, Fugui is going into several of these movies from the domes- town to look for a doctor for his ailing tic box office upon release. Chen Kaige mother. The impact of this is not felt in the movie.