Chinese cinema
Chinese cinema at large refers to films from mainland China, Hong Kong and Taiwan. Despite their common and their linguistic, historical and cultural roots, styles have differences. Sometimes confused in Western countries, they have a history and a style of their own.
Hong Kong cinema is quite commercial and very popular abroad;
The Taiwanese cinema was marked by the Japanese rule until 1937 and then by the deep socio-economic changes;
The film mainland China.
We can also talk about a movie of the Chinese diaspora.
History
Tan Xinpei in the first Chinese film Dingjun mountain (1905)
Domination Shanghai [change | modify the code]
The movie appears in the early twentieth century in the Chinese world. It draws mainly from Chinese opera. The Taiwanese cinema is also marked by the Japanese influence.
Before the first world war, the capital of Chinese cinema is Shanghai that focuses almost all Chinese films with production companies such as Mingxing Film Company, the Tianyi Film Company (in), the Xinhua Film Company (in) Lianhua film Company (in), stars such as Ruan Lingyu, Zheng Junli or Qing1 Jiang. We can not speak Taiwanese or Hong Kong cinema.
Post-war
World War II and the Civil War leads to the departure of many mainland Chinese artists to Hong Kong and Taiwan. The cinema of mainland China is marked by the Soviet model with production and closely controlled by the state issues. The Cultural Revolution (1966-1975) causes a near halt in production in communist China. Meanwhile, Hong Kong became the heart of the Chinese film production under the leadership of the Shaw Brothers and Emigrant artists from China. They mainly produce martial arts films that conquer the Chinese diaspora and even the Western public by Bruce Lee in the early 1970s.
The success of the 1980s and 1990s
All Chinese cinemas are experiencing significant success from the year 19802. While the Hong Kong success continues with directors such as Tsui Hark and John Woo and Wong Kar-wai in the 1990s, we are also seeing the revival in Mainland China and Taiwan. The 5th generation emerges in mainland China with Zhang Yimou and Chen Kaige. The new wave taiwainaise develops with Edward Yang and especially Hou.
The success culminating in 1992-1993 with the Golden Palm in Cannes in May 1992 for Chen Kaige and his film Farewell My Concubine, the Golden Lion in Venice for Zhang Yimou in September 1992 and his film The Story of Qiu Ju and finally the Golden Bear in Berlin in February 1993 for Ang Lee and Xie Fei for their boy movie of honor.
Reconciliations
Since the late 1990s, and especially since the return of Hong Kong to China in 1997, the links between Chinese language movies have developed.
This is particularly the case with super-productions bringing together stars of the entire Chinese world. And Crouching Tiger Hidden Dragon directed by Taiwanese Ang Lee Taiwanese actors but also Chinese and Hong Kong. In the same vein include The House of Flying Daggers and Hero made by the continental Zhang Yimou.
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