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Tradition Und Aufbruch Der Chinesische Spielfilm 1905-1995

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Tradition Und Aufbruch Der Chinesische Spielfilm 1905-1995 Tradition und Aufbruch Der chinesische Spielfilm 1905-1995 Dissertation zur Erlangung des Grades des Doktors der Philosophie beim Fachbereich Sprachwissenschaften der Universität Hamburg vorgelegt von Guoqiang Teng aus Peking Hamburg 1999 Tradition und Aufbruch Der chinesische Film 1905-1995 Dissertation zur Erlangung des Grades des Doktors der Philosophie beim Fachbereich Sprachwissenschaften der Universität Hamburg vorgelegt von Guoqiang Teng aus Peking Hamburg 1999 2 Als Dissertation angenommen vom Fachbereich Sprachwissenschaften der Universität Hamburg aufgrund der Gutachten von Prof. Dr. Knut Hickethier und Prof. Dr. Ludwig Fischer Hamburg, den 16. 02. 2000 3 Inhaltsverzeichnis Vorwort....................................................................................................................... 9 Einleitung.................................................................................................................. 10 I. Der chinesische Film von der Pionier- und Stummfilmzeit bis zum Entstehen des Tonfilms 1905- 1931...................................................................................15 1. Das Entstehen des chinesischen Films - Von „Zoumadeng“ und „Piyingxi“ bis zum ersten chinesischen Film 1905................................ 15 2. Die Kurzfilmphase des chinesischen Films 1905-1922 ................................. 18 3. Die Entwicklung des chinesischen Films nach dem Ersten Weltkrieg......... 21 4. Von den realistischen Ansätzen bis zu den Kostüm-, Kungfu- und Geisterfilmen der zwanziger Jahre ............................................................... 23 4. 1. Die realistischen Ansätze des chinesischen Films............................................. 23 4. 2. Die Flut der Kostüm-, Kungfu- und Geisterfilme ............................................. 35 5. Die Bildung einer chinesischen Vorstellung und Tradition des ‚filmischen Theaters‘ ..................................................................................... 38 6. Die Filmemacher der ersten Generation....................................................... 39 7. Das Entstehen des chinesischen Tonfilms um 1931 ...................................... 40 II. Der chinesische Film in den dreißiger und vierziger Jahren...............................................................................43 1. Der chinesische Film 1931-1937 .................................................................... 43 1. 1. Die Blüte des chinesischen Stummfilms in der ‚Poststummfilmzeit‘ ............... 43 1. 2. „Die Göttin“ - ein chinesischer Kammerspielfilm............................................. 43 1. 3. Das Entstehen der linken Filmbewegung.......................................................... 47 1. 4. Die chinesische linke Filmbewegung innerhalb der weltweiten fortschrittlichen Filmströmungen Ende der zwanziger und Anfang der dreißiger Jahre .............. 49 4 1. 5. Die Filmproduktion der linken Filmbewegung - die Hauptströmung des chinesischen Films in den dreißiger Jahren ...................................................... 52 1. 6. Der Drehbuchautor Xia Yan und die Filme nach seinen Drehbüchern .............. 53 1. 7. Andere repräsentative linke und fortschrittliche Filme und deren Regisseure ... 62 1.7.1. Zheng Zhengqiu und sein Film „Geschichte der Zwillingsschwestern“.. 62 1.7.2. Cai Chusheng und sein Film „Das Lied der Fischer“ ............................. 63 1.7.3. Sun Yu und sein Film „Die breite Straße“ ............................................. 64 1.7.4. Ying Yunwei und sein Film „Unglück nach dem Studienabschluß“....... 66 1.7.5. Shen Xiling und sein Film „An der Straßenkreuzung“........................... 67 1.7.6. Yuan Muzhi und sein Film „Straßenengel“ ........................................... 69 1. 8. Der Beitrag der linken Filmbewegung zum chinesischen Film und ihre historische Bedeutung...................................................................................... 71 2. Der chinesische Film während des Widerstandskrieges gegen die japanische Aggression 1937-1945.................................................................. 77 2. 1. Die Bildung einer Einheitsfront gegen die japanische Aggression unter den Filmschaffenden .............................................................................................. 77 2. 2. Merkmale der Filmproduktion während des Widerstandskrieges...................... 78 2. 3. „Kinder der Welt“ - eine Zusammenarbeit zwischen den österreichischen und chinesischen Filmkünstlern 1941 ..................................................................... 79 3. Der chinesische Film in der Nachkriegszeit 1945-1949 ................................ 80 3. 1. Die Filmproduktion in den von der Kuomintang beherrschten Zonen, in Hongkong und in den Befreiungsgebieten........................................................ 81 3. 2. Repräsentative fortschrittliche Filme und deren Regisseure in der Nachkriegszeit ................................................................................................. 82 3.2.1. Jin Shan und sein Film „Auf dem Songhua-Fluß“ ................................. 82 3.2.2. Shi Dongshan und sein Film „Viertausend Kilometer unter Wolken und Mond“............................................................................... 84 3.2.3. Cai Chusheng und sein Film „Der Frühlingsstrom fließt nach Osten“.... 85 3.2.4. Shen Fu und sein Film „Lichter aus zehntausend Familien“ .................. 87 3.2.5. Zheng Junli und sein Film „Krähen und Spatzen“ ................................. 88 3. 3. Merkmale der fortschrittlichen Filme in der Nachkriegszeit und ihr Beitrag zum chinesischen Film ........................................................................ 90 4. Die Filmemacher der zweiten Generation .................................................... 95 5 III. Der ‚Film des Neuen China‘ 1949-1976 .........................95 1. Die Filmentwicklung des neuen China in den fünfziger Jahren .................. 99 1. 1. Der Neuanfang des Films im neuen China ....................................................... 99 1. 2. Filmthemen und -genres................................................................................. 104 1. 3. Die Filmentwicklung des neuen China im Schatten der politischen Kampagnen.................................................................................. 109 1. 4. Die kurze Blüte des ‚Films des Neuen China‘ 1959-1960............................... 110 2. Die weitere wechselhafte Filmentwicklung des neuen China 1961-1966 ... 111 2. 1. Der ‚Film des Neuen China‘ - Außenseiter in der weltweiten filmkünstlerischen Erneuerung der sechziger Jahre ........................................ 111 2. 2. Der Niedergang der Filmproduktion und die Steigerung der künstlerischen Qualität 1961-1966........................................................................................ 113 2. 3. Filmthemen und -genres................................................................................. 116 2. 4. Weitere Kampagnen und die Depression des Filmschaffens von 1964 bis 1966.......................................................................................... 120 3. Die Ursachen der wechselhaften Filmentwicklung des neuen China in den fünfziger und sechziger Jahren ........................................................ 124 4. Der ‚Film des Neuen China‘ während der Kulturrevolution 1966-1976 ..................................................................................................... 131 4. 1. „Kahlschlag“ ................................................................................................ 131 4. 2. Die Verfilmungen der ‚Musterstücke der revolutionären modernen Peking-Oper und Ballettdramen‘.................................................................... 138 4. 3. Die Wiederaufnahme der Spielfilmproduktion seit 1973 und die Filme über ‚die den kapitalistischen Weg gehenden Machthaber‘ .................................... 139 4. 4. Zwischenfälle bei der Produktion der Filme „Pionierarbeit“ und „Haixia“ ..... 142 4. 5. Das Ende der Kulturrevolution und deren Folgen für den chinesischen Film .......................................................................................... 146 5. Die Filmemacher der dritten Generation ................................................... 148 6 IV. Der ‚Neue Chinesische Film‘ 1979-1995 ...................... 153 1. Die Wiederbelebung des chinesischen Films 1977-1978 und das Entstehen des ‚Neuen Chinesischen Films‘ ab 1979................................... 153 1. 1. Die Wiederbelebung des chinesischen Films auf dem Festland ...................... 153 1. 2. Filmproduktion und -genres 1977-1978 ......................................................... 154 1. 3. Schwere Schritte des chinesischen Films 1977-1978...................................... 157 1. 4. Die historische Wende des chinesischen Films und das Entstehen des ‚Neuen Chinesischen Films‘ 1979.................................................................. 159 1.4.1. Voraussetzungen für die Wende.......................................................... 159 1.4.2. Maßnahmen zur Erweiterung der Spielfilmproduktion und Erhöhung der Filmqualität .................................................................. 162 1.4.3. Spielfilmschaffen und -produktion 1979 ............................................. 162 2. Der ‚Neue Chinesische Film‘ 1980-1984 ..................................................... 168 2. 1. Der neue Hintergrund für das Filmschaffen.................................................... 168
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