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.
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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
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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-
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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. The loss of the mother is 1 Perhaps one of the most hauntingly beautiful blamed on his not being able to get a movies ever made. The movie is an examination of the strength of bonds created early in youth and doctor to help her, and the sudden de- the beauty that results from it. Leslie Cheung and parture of Fugui is seen as a return to his Zhang Fengyi are magnificent as the two operat- gambling -- which Jiazhen refuses to be- ic wonders, and Gong Li plays the wife of Zhang Fengyi. Gong Li might play a small role but it is a lieve. Fugui is liberated by advancing Red pivotal one, and she does it with the range that she Army factions; when he arrives home to can draw from.
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and Zhang Yimou shared a common re- fantasy that carried no truths of Asian jection of the socialist-realist tradition, an (in this case, Chinese) culture. Ironically, act that was not popular among many the blockbuster appeal opened the door previous Chinese directors. for theater distribution in the West. This Despite this almost heroic start, helped critics argue about falsely depict- Fifth Generation Directors began mak- ing Asian traditions to Western viewers. ing films that betrayed their socio-politi- Since these were the only filmic images cal roots. Inspired by the success of Ang of “Eastern” culture, western viewers got Lee’s Crouching Tiger Hidden Dragon (Wo a sense of what entertains but not what hu cang long, 2000), Zhang Yimou began describes Chinese culture. There were no directing (although critically acclaimed) US threatrical releases of movies such as “Wuxia” movies such as Curse of the To Live (Huozhe, 1994), Blue Kite (Lan feng Golden Flower (Man cheng jin dai huang zheng, 1993), and Farewell My Concubine jin jia, 2006), Hero (Ying xiong, 2002), and (Ba wang bie ji, 1993) – which had only House of Flying Daggers (Shi mian mai limited release in film festivals. So, while fu, 2004). These films were as far from these films brought recognition to Chi- the original critique roots as they could nese cinema, it came at the cost of cul- be. Instead, they exemplified images of tural misunderstanding.
FROM COMMERCE TO PROTEST, THEN A RETURN TO COMMERCE
There is a specific character to the movie roles she got due to her star pow- selling out that takes place among the er. Already established is that most native Fifth Generation. Zha barely conceals her Chinese feeling that the types of movies accusation as she rhetorically questions produced by the Fifth Generation in their if “he [Zhang Yimou] owes his popular- later, more successful, careers are not an ity to the shrewd marketing of Oriental authentic portrayal of what they feel exotica to the West” (Zha, 1995: 94). This their culture to be. It can also be said that process is typified by marketing the mys- “this kind of film is really shot for the ca- tique of the Asian woman as played out sual pleasure of foreigners” as we can see in Western male fantasies. Gong Li only that Zhang Yimou owes most of his suc- became an acclaimed actress because cess to foreign audiences who are still she had the chance to practice in many amazed by his spectacle in movies such
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as Hero (Ying xiong, 2002) (Zha, 1995: 94). ro repressive tactics, as Mao Zedong and This success, also described as minglish- his cohorts, including the terrifying Red uangshou: “reaping fame and fortune,” is Army, took hold of the country and im- a complimentary term to that of the phil- posed Mao’s will upon the people of Chi- osophical director. na. Life reflected what Mao desired, and Despite Chen Kaige’s original entertainment, an especially important disdain for mass-marketing exoticized facet in the lives of the Chinese, was not culture, he seems to have allowed him- excluded. Chinese films included a ma- self to fit into this mold. Whereas Chen jority of works that portrayed the Maoists previously “denounced it openly as an and the communist lifestyle in a celestial era of hopeless cultural decline, when light, and, subsequently, “Chinese cinema idealism was mocked, refinement and often seemed to be one long reel of pro- elegance shoved aside, and vulgarity paganda” (Zha, 1995: 86). Nonetheless, reigned supreme,” (Zha, 1995: 93) he there existed a small contingent of bril- has now proclaimed in his success that liant, eclectic, and somewhat eccentric “when it comes to film making, money is young filmmakers, who desired to “act the bottom line” (Zha, 1995: 97). It leads [in] rebellion against the artistic strictures one to question if he, as an exemplar of of Maoism” (Zha, 1995: 86). These Fifth the Fifth Generation, must conform to Generation artists, as they are referred to, international mass market values in or- came after the “Fourth Generation” move- der to survive as a filmmaker. It is these ment, one in which was emphasized a reversals that call to question both Chen “focus of talk about China’s distinctive Kaige’s and Zhang Yimou’s artistic in- history and heritage” (Zha, 1995: 86). The tegrity. Others have vigorously argued Fifth Generation movement, conversely, against this reasoning stating that the adopted a methodology that transcend- current transformation, with its focus on ed the previously mentioned concept, aesthetics rather than social critique, car- reflecting a “general preoccupation with ries its own integrity. Others argue that the true meaning of history and culture” social critique is maintained. That does (Zha, 1995: 87). Fifth Generational cinema not seem to be the case, but in order to worked to “challenge the way the Chi- get recognized by international audienc- nese viewed revolutionary history” (Ken- es, the filmmaker must, in the final analy- dall, 2000: 215). Mao had consistently uti- sis, sell to an audience. lized his own interpretation of historical The Cultural Revolution signified events to exact his imperialistic will upon a period of individual strife and politbu- the people of China.
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HAUNTED BY IDEOLOGY
After the passing of Mao, Fifth period within China (Zha, 1995: 88). On Generational filmmakers developed sto- the one hand, one may look upon Fifth ries regarding Mao’s methods to form Generation filmmakers as sell-outs, so to their own alternative concepts about speak. On the other hand, in defense of China and its rich history (Kendall, 2000: the Fifth Generation, they should also be 215). Creative directors such as Chen lauded for their endeavors in helping to Kaige and Zhang Yimou were produc- propel China into a new age of cultural ing films that “challenged the dominant and social development. assumptions of Chinese history and ex- An analysis of the works of these plored new ways of presenting national Fifth Generation filmmakers warrants a and cultural identity” (Kendall, 2000: 216). further examination into how, exactly, This movement undoubtedly these artists were affected by an age of upset communist ideologicial purists as alleged cultural enlightenment. How Fifth Generational cinematic work con- did the period in which Mao “ruled” im- demned the Maoist period and looked pact the methods of Zhang Yimou, Chen glowingly on a Chinese society reim- Kaige, et al.? What life experiences did bued with Confucian philosophy. Addi- these Fifth Generation filmmakers endure tionally, a style that detached itself from to influence their distinctive approaches the traditional propagandized works of and styles? Finally, in what respect can previous decades and, now, emphasized one witness integrated elements of a a “preference for the grand gesture and once communist existence within recent [a] concern with the big picture”, proved Chinese film? One thing can be surmised: disconcerting to a society still influenced that the artists’ personal understanding by a communist mindset (Zha, 1995: 87). of the trials and troubles associated with Chen Kaige and Zhang Yimou, however, the Cultural Revolution spawned an un- transcended film and political barriers paralleled and inimitable period of suc- through their cinematic creations, such cess within the Chinese film industry, and as Yellow Earth (Huang tu di, 1984), to give generated a new era of brilliant and revo- his Chinese audience an understanding lutionary cinematic productions. of the new “open political environment” The Cultural Revolution was in- (Zha, 1995: 88). It is partially through tended to generate an age of revolution their efforts that the slogan, “go to the and unparalleled progress when Mao first world,” became emblematic of a new launched his foundational platforms of
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change in August of 1966. Mao’s rationale chaotic state in which power was seized for initiating this sweeping reform was “to by many Maoist conglomerates, while challenge Communist Party officials for the pursuit of a united, cohesive People’s their bourgeoisness and lack of revolu- Republic of China (PRC) was essential- tionary zeal” (Watkins). As the movement ly abandoned. Subsequently, “disorder... gained substantial ground, it “splintered emerg[ed] as different factions of the into factions, all claiming fervent devo- Red Guard and other radical movements tion to Chairman Mao” (Watkins). Thus, fought each other for control” (Watkins). the dissection of the movement greatly In turn, “the turmoil and disruptions of contributed to a fragmented front typi- the Cultural Revolution led to a decline fied by a lack of a centrally unified effort. in industrial production of 12 percent be- What remained, consequently, was a tween 1966 and 1968” (Watkins).
THE BOUNDARIES IMPOSED BY THE CULTURAL REVOLUTION
While all aspects of Chinese life “cultural policies” by Chairman Mao, de- were dictated by the terms and con- vised “new notions of what film should ditions of the Cultural Revolution, film be like,” developing strict standards for in particular was profoundly affected, cinematic works that prevented the primarily “because of two characteristic dissemination of any material that chal- qualities: its origins and its popularizing lenged the principles of the Communist potential” (Clark, 1983: 304). Mao and his Party in question or even stimulated or Communist cohorts understood “film aroused thought within the general could not be taken lightly” as a power- population (Clark, 1983: 305). ful instrument of persuasion, chiefly be- Consequently, “the relative pros- cause “it was the artistic form potentially perity of film-making in the early 1960s most accessible to the greatest numbers was broken in 1964” as state criticisms and range of people” (Clark, 1983: 305). regarding the nature of cinema brought What occurred immediately after the im- “fiction film production in China... to a plementation of policies associated with halt” (Clark, 1983: 305-306). Much of the the Cultural Revolution was a complete overall discountenance displayed to- forbiddance of any fiction-oriented cin- wards the filmmakers of China involved ema. Party officials, placed in charge of a personal distrust for Chinese film con-
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glomerates (and any related individu- Cultural Revolution, it became apparent als) and, interestingly, a party agenda to that the actions of Mao and his party of- eradicate the careers of filmmakers and ficials had stymied the impressive prog- actors whom officials held vendettas ress that the film industry had made only against (Clark, 1983: 307). Subsequently, fifteen years earlier. the state seized control of the Chinese Only two years after the demise film industry because “film circles were of Mao, “a high proportion of the over distrusted for personal and ideological 60 new fictions films were drawn from reasons”; this distrust emanated from a old scripts,” much to the dismay of the commonly held Maoist belief in the caus- public, who expressed dissatisfaction tic effects of the Western world upon the with “the dull predictability of plot, the mind-set of the filmmakers, whom Mao falseness of characterization, exagger- adamantly deemed to be apprentices of ation of acting, [and] tedious pacing of Western philosophy (Clark, 1983: 308). exposition” (Clark, 1983: 312-313). Rec- Throughout this massive ordeal, ognizing the utterly putrefied state of approximately 3000 films: features, docu- the film industry, the recently modified mentaries and foreign films, were sealed government of China, now led by Deng and stored in warehouses. The People’s Xiaoping, developed a “policy of reform Republic of China produced several pol- and liberalization,” a collection of mod- ished ideological melodramas tailored ifed guidelines that stemmed “from the as propagandized instruments to arouse 1978 meeting of the Central Committee deliberate sentiment within the public. of the C.C.P.” that “led to the reopening The stranglehold exhibited upon the of the Beijing Film Academy” (Kendall, film industry of China eliminated any ar- 2000: 215). This vital action would soon tistic integrity and created mechanical, set in motion the rise of the Fifth Gen- unconscious, and seemingly emotion- eration of filmmakers, a faction of the less cinematic works. Soon after the fall most talented and gifted screenwriters of the Gang of Four and the end of the and directors yet.
WRESTLING WITH MAO’S GHOSTS
The overwhelming success of the the movement itself. The Fifth Generation Fifth Generation has much to do with the is characterized by its ability “to act as composition of themes imbedded within something of a landmark -- breaking with
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the binding didacticism of social realism, nationalism”, [one in which] makes them [and] encouraging discussions about na- ‘complicit’ in the international arena” (Ma, tional identity while contextualizing the 2006). The seemingly paradoxical nature formation of ethnographic knowledge” of the Fifth Generation provides tremen- (Kendall, 2000 p. 216). This ability stems dous credence to its unparalleled success, form the personal experiences of the as it works to remind people of the mis- filmmakers themselves; these individuals fortunes of the past while, simultaneously, all endured a life manipulated and con- presenting hope for a unified society that trolled by the strictures of a repressive can work to become a dominant force communist regime, and a charismatic yet within an increasingly globalized society. apparently delusional premier in Chair- One comes to understand, man Mao. In transcending the barriers through this cursory examination of the established by the ruling party, they uti- Fifth Generation, that “these films are, in lized the medium of film to convey the reality, direct products of historic tragedy frequent difficulties that encumbered - the ‘cultural revolution’ and the ‘educat- them as young individuals. ed youth movement’” (Yuankai, 2002: 2). This methodology, however, pre- In cinematic works such as Yellow Earth sented for Fifth Generation members, a (Huang tu di, 1984), Farewell My Concu- “two-dimensional contradiction: on the bine (Ba wang bie ji, 1993), and Raise the one hand [they] aimed to sweep the ob- Red Lantern (Da hong deng long gao gao stacles to modernization by disapproving gua, 1991), each possees unique themes traditional Chinese culture; on the other that speak to the personal youth experi- hand, it depended on the roots-searching ences of the filmmaker while maintaining to revisit the origins of national culture” facets of optimism. It is the very event of (Ma, 2006). Likewise, semblances of Mao- the Cultural Revolution, which the film- ist principle, to some extent, remained makers were subjected to, that “became ingrained within Fifth Generation mem- imprinted on their consciousness in their bers. For instance, although an overall youth… [and] predetermined their des- approach in Fifth Generation film produc- tiny…, [ultimately serving as a] source tion involves confronting forces between of inspiration that is reflected in [their] the homogenizing official discourse vis-à- films” (Yuankai, 2002: 2). Nonetheless, it is vis anti-establishment Western ideologies not for the aforementioned reason alone in the context of globalization, the Fifth that these Fifth Generation films are so generation has “played an unexpected revered, but rather for the inclusion of “in- role in promoting a new kind of cultural novative concepts” that incorporate con-
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temporary “international aesthetic trends” what makes life worth living -- love, and appeal to audiences of a global spec- beauty, and youthful visions -- and how trum (Yuankai, 2002: 2). Thus, the modus it reduces humanity to bestiality that operandi that has come to exemplify the preys on the weak and powerless” (Lan, works of the Fifth Generation involves 2004: 194). a symbiotic approach, one that unites Chen Kaige’s Farewell My Con- elements of modernity (in line with the cubine (Ba wang bie ji, 1993) also acts methods utilized throughout Hollywood) to express the horrors of the Cultural with vital traditional aspects that repre- Revolution, undertaking a “frank look sent the period endured under Mao and at homosexuality”, and demonstrating the communist ruling party. the intolerance and cruelty displayed A particularly phenomenal as- by Mao towards his own people (Ansen pect of Fifth Generation films is the inclu- and Nickerson, 1993: 75). Chen’s anger sion of strong humanistic elements with- at the execution of repressive policies in its contextual themes. The presence throughout the Revolution impelled him of these elements is significantly ironic, to construct a film that “portray[s] the especially considering the “dehumaniz- human cost of war and the constant po- ing nature [of the Cultural Revolution], litical upheaval” (Rafferty, 2007). His ex- matched by few other events of history” ploration of human relationships within (Lan, 2004: 193). Within Joan Chen’s Xiu China during the reign of Mao questions Xiu: The Sent-Down Girl (Tian yu, 1998), one’s ability “to remain true to anyone or the tale of a young girl who is “sent to anything: an art, an ideal, a friend, a wife, work in China’s remote rural areas during oneself”, without falling victim to the op- the Cultural Revolution,” Chen works to pressive devices of the Communist Po- illustrate the government’s extremely re- litburo (Rafferty, 2007). This film remains pressive and dehumanizing tactics (Lan, one of the quintessential examples of 2004: 193). In utilizing the figure of Xiu the Fifth Generation movement and is Xiu, Chen attempts to convey to the au- indicative of an age marked by increas- dience “how the Revolution destroy[ed] ing tolerance, but not full liberality.
CONCLUSION
Despite the many obstacles faced out their careers, they have continued by Fifth Generation members through- to circumnavigate the imposed political
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and social boundaries to create tran- longer can we simply pigeonhole the scendent films that speak to the global films of the Fifth Generation into a small masses. Out of the ashes of one of the categorical niche; rather, we must rec- most oppressive eras in China’s history ognize the thematic universal language evolved some of the most magnificent of these cinematic works and appreciate and inspirational artistic works ever. The their comprehensive relevance to all of Fifth Generation of filmmakers has un- humanity. doubtedly been shaped and molded by the hardships suffered as a collective unit throughout the privation of the Cultural Revolution. The brilliant, ex- ceptional, and eclectic cinematic works produced by the likes of Chen Kaige, Zhang Yimou, and Tian Zhuangzhuang, etc. have left an indelible imprint upon the people of China; the inimitability of these films has elicited, within China, a multitude of emotions that are derived from one of the most turbulent and troubling periods ever. Although “films about the Cultural Revolution [have come] to seem increasingly irrelevant to the younger generation[s],” these works continue to be the archetypical evidence of a ruinous era for a resilient Chinese population (“Generation Five”, 2005 p. 81). Moreover, despite “the eco- nomic changes that [are] taking place within China itself” that necessitates a “mimic[ing] [of]…Hollywood imports,” many of the Fifth Generation filmmakers have been able to adapt to the pres- sures of demand and produce works that fall within the popular context of society (“Generation five”, 2005 p. 81). No
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Watkins, T. “The Great Proletarian Cultural Revolution in China, 1966-1976.” San Jose State University Depart- ment of Economics. (Online). Yuankai, T. (2002) “Fifth Generation Film- makers Advance Towards the Market.” China Today June. Zha, J. (1995). China Pop: How Soap Op- eras, Tabloids, and Bestsellers Are Transforming a Culture. New York: The New York Press. Zhang, B. (1999) “Figures of Violence and Tropes of Homophobia: Reading Farewell My Concubine between East and West.” Journal of Popular Culture. 33.2 (Fall): 101-109. Zhang, X. (2003) “National Trauma, Glob- al allegory: Reconstruction of Col- lective Memory in Tian Zhuang- zhuang’s The Blue Kite.” Journal of Contemporary China. 12.37 (Nov): 623-638.
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