1. One and Eight (1984) by Zhang Junzhao
According to Zhen Ni, in November 1983, “One and Eight” was sent to censors. While waiting for the response, Junzhao and others organized a screening at Beijing Film Studio and celebrated this picture with their friends and teachers. Zhang Yimou later recalled that he was most happy and excited during that moment. Junzhao’s debut was not passed by the censors that year and its release was stalled for another three. Although everyone in the industry heard about it, that screening was probably the only one where the movie was shown before the censorship changes. Consequently, it is difficult to honestly evaluate its quality. (Tobiasz Dunin)
2. Sacrificed Youth (1986) by Zhang Nuanxin
“Sacrificed Youth” is a film that is not very well-known today, but is truly remarkable. The director’s decision to have the main character comment on the events via voice-over seems daring at first. But it works perfectly, because it also reveals the protagonist’s inner world, her initial insecurity, her reservations and her growing love for the remote place and its inhabitants. The choice of setting alone is remarkable, because the many ethnicities of the People’s Republic were hardly featured on film at the time. (Andreas Ungerbock)
3. Old Well (1987) by Wu Tianming
China’s fourth generation of filmmakers was far from being rebellious. During the Cultural Revolution, many directors expressed their grief about lost youth or unrequited love. Others celebrated the achievements of the new China and the progressive ideas of its people. Wu Tianming‘s “Old Well” represents a set of values matching the propagandized ideology of the government. Set in a small mountain village, the moments of the uprising are nothing more than a symbolic act against the feudal system and correspond more with an act of emancipation than a rebellion. (Alexander Knoth)
4. Black Snow (1990) by Xie Fei
“Black Snow” dates back to the time when the cinema of the People’s Republic, which had come to a virtual standstill due to the Cultural Revolution (1966-1976) and was barely noticeable internationally, was awakening from its deep sleep. Director Xie Fei, who was already 48 years old at the time of completion, is still considered one of the recognized greats today, not least because of his long-term work as a professor at the renowned Beijing Film Academy. (Andreas Ungerbock)
5. Mama (1990) by Zhang Yuan
Although “Mama” was criticized by state censors for being too pessimistic and received only minimal distribution in China, it didn’t stop Zhang Yuan‘s feature debut from becoming an essential work of the Sixth Generation. What’s more, considered one of the first independent Chinese films since 1949, it paved the way for the emerging movement. Unlike in its country of production, the movie was appreciated abroad, as it was presented at several international film festivals and won the Special Jury Prize at the 9th Three Continents Film Festival. It was also selected to screen as part of the retrospective of Chinese cinema at the 62nd Venice International Film Festival. (Tobiasz Dunin)
6. Bumming in Beijing: The Last Dreamers (1990) by Wu Wenguang
After leaving the job assigned to him by the Party, Wu Wenguang travelled across China and eventually settled in Beijing to live among artists. Having access to cameras from the TV station where he worked, he decided to record his newly acquainted friends. His idea was to capture their daily lives and the shared experiences of people through a documentary style that, unlike previous productions in China, was free of propaganda and typical didactic purposes. His experiment resulted in an original film, which is now considered the cornerstone of the New Chinese Documentary Movement. (Magdalena Nieświec)
7. The Blue Kite (1993) by Tian Zhuangzhuang
Born into a film family, with both parents being actors, Tian Zhuangzhuang initially pursued a career in photography before later becoming a director, producer, and actor. Currently, he is known as one of the most important creators of the Chinese Fifth Generation. Like other filmmakers of this movement, Zhuangzhuang had problems with censorship, but it was not until his award-winning “The Blue Kite” that he faced serious consequences. When it became clear during production that the government would ban the movie, the producers reportedly transported it to Japan, finalised post-production, and secured international distribution. Unsurprisingly, the Chinese authorities weren’t pleased, and the director faced almost a decade-long ban from filmmaking, although he still worked as a producer during that time. (Tobiasz Dunin)
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8. 1966, My Time in the Red Guards (1993) by Wu Wenguang
“1966, My Time in the Red Guards” is a highly-educational documentary, which describes the enthusiasm and compassion that misguided millions of people and led to a lot of wrongdoings. The recollections of the protagonists convey a very good feeling of the mentality at the time and show the power of an authoritarian leadership that misused the potential of a revolutionary youth. The interviews reveal the resulting traumas that were partly recognised, and partly suppressed, and are a verdict for collective amnesia regarding such big social turning points. Furthermore, they show the importance of filmmakers asking the right questions and recording them. (Alexander Knoth)
9. Beijing Bastards (1993) by Zhang Yuan
It is difficult to apply a purely critical perspective to Beijing Bastards, a film that stands as a landmark of independent Chinese cinema. Good or bad – such judgments feel irrelevant for works that can be categorized as Generational Cinema. The few years past since 1993 feel like centuries for China, and the film remains a raw reflection of the post-Tiananmen era, at least of the No-Future youth that persisted. In itself, it is simply one of the early attempts at independent Chinese cinema by a member of the now-famous Sixth Generation of the Beijing Film Academy, but its significance goes beyond that. (Jean Claude)
10. The Square (1994) by Zhang Yuan and Duan Jinchuan
Covering 215 thousand square meters, with Mao’s portrait visible on the Gate of Heavenly Peace, the Tiananmen Square, which is located in the very centre of the Chinese capital, is widely known for the massacre that took place there in 1989. Weeks after the protests, this historic site returned to become the main destination both for tourists and locals, maintaining its status as not only the most public space in the country, but also a symbolic heart of Communist China. In 1989, Zhang Yuan – one of the leading members of China’s Sixth Generation – was still studying at Beijing Film Academy. When the protests died down, he often rode his bicycle around the square, observing what was happening there in the wake of the massacre. Five years later, he agreed to collaborate with Duan Jinchuan, who would later become a prominent figure in the New Documentary Movement. Together, they recorded the place they perceived as a stage, with its visitors being no more than performers. Despite being banned in China, their documentary was screened at various international festivals and won the FIPRESCI award at the Yamagata Documentary Film Festival in 1995. (Magdalena Nieświec)
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As we were checking our catalog of reviews the past months, we realized that there is a slight gap on articles about films from Mainland China. As such, we decided to start a tribute on the particular cinema, starting from the 4th generation directors and onwards. With the help of Victor Fan, who provided a list with films we “should” deal with, we came up a series of movies the writers of AMP have been dealing with since January. Following are some of the highlights, in a list that will expand throughout the year.
1. One and Eight (1984) by Zhang Junzhao
According to Zhen Ni, in November 1983, “One and Eight” was sent to censors. While waiting for the response, Junzhao and others organized a screening at Beijing Film Studio and celebrated this picture with their friends and teachers. Zhang Yimou later recalled that he was most happy and excited during that moment. Junzhao’s debut was not passed by the censors that year and its release was stalled for another three. Although everyone in the industry heard about it, that screening was probably the only one where the movie was shown before the censorship changes. Consequently, it is difficult to honestly evaluate its quality. (Tobiasz Dunin)
2. Sacrificed Youth (1986) by Zhang Nuanxin
“Sacrificed Youth” is a film that is not very well-known today, but is truly remarkable. The director’s decision to have the main character comment on the events via voice-over seems daring at first. But it works perfectly, because it also reveals the protagonist’s inner world, her initial insecurity, her reservations and her growing love for the remote place and its inhabitants. The choice of setting alone is remarkable, because the many ethnicities of the People’s Republic were hardly featured on film at the time. (Andreas Ungerbock)
3. Old Well (1987) by Wu Tianming
China’s fourth generation of filmmakers was far from being rebellious. During the Cultural Revolution, many directors expressed their grief about lost youth or unrequited love. Others celebrated the achievements of the new China and the progressive ideas of its people. Wu Tianming‘s “Old Well” represents a set of values matching the propagandized ideology of the government. Set in a small mountain village, the moments of the uprising are nothing more than a symbolic act against the feudal system and correspond more with an act of emancipation than a rebellion. (Alexander Knoth)
4. Black Snow (1990) by Xie Fei
“Black Snow” dates back to the time when the cinema of the People’s Republic, which had come to a virtual standstill due to the Cultural Revolution (1966-1976) and was barely noticeable internationally, was awakening from its deep sleep. Director Xie Fei, who was already 48 years old at the time of completion, is still considered one of the recognized greats today, not least because of his long-term work as a professor at the renowned Beijing Film Academy. (Andreas Ungerbock)
5. Mama (1990) by Zhang Yuan
Although “Mama” was criticized by state censors for being too pessimistic and received only minimal distribution in China, it didn’t stop Zhang Yuan‘s feature debut from becoming an essential work of the Sixth Generation. What’s more, considered one of the first independent Chinese films since 1949, it paved the way for the emerging movement. Unlike in its country of production, the movie was appreciated abroad, as it was presented at several international film festivals and won the Special Jury Prize at the 9th Three Continents Film Festival. It was also selected to screen as part of the retrospective of Chinese cinema at the 62nd Venice International Film Festival. (Tobiasz Dunin)
6. Bumming in Beijing: The Last Dreamers (1990) by Wu Wenguang
After leaving the job assigned to him by the Party, Wu Wenguang travelled across China and eventually settled in Beijing to live among artists. Having access to cameras from the TV station where he worked, he decided to record his newly acquainted friends. His idea was to capture their daily lives and the shared experiences of people through a documentary style that, unlike previous productions in China, was free of propaganda and typical didactic purposes. His experiment resulted in an original film, which is now considered the cornerstone of the New Chinese Documentary Movement. (Magdalena Nieświec)
7. The Blue Kite (1993) by Tian Zhuangzhuang
Born into a film family, with both parents being actors, Tian Zhuangzhuang initially pursued a career in photography before later becoming a director, producer, and actor. Currently, he is known as one of the most important creators of the Chinese Fifth Generation. Like other filmmakers of this movement, Zhuangzhuang had problems with censorship, but it was not until his award-winning “The Blue Kite” that he faced serious consequences. When it became clear during production that the government would ban the movie, the producers reportedly transported it to Japan, finalised post-production, and secured international distribution. Unsurprisingly, the Chinese authorities weren’t pleased, and the director faced almost a decade-long ban from filmmaking, although he still worked as a producer during that time. (Tobiasz Dunin)
Buy This Title
by clicking on the image below
8. 1966, My Time in the Red Guards (1993) by Wu Wenguang
“1966, My Time in the Red Guards” is a highly-educational documentary, which describes the enthusiasm and compassion that misguided millions of people and led to a lot of wrongdoings. The recollections of the protagonists convey a very good feeling of the mentality at the time and show the power of an authoritarian leadership that misused the potential of a revolutionary youth. The interviews reveal the resulting traumas that were partly recognised, and partly suppressed, and are a verdict for collective amnesia regarding such big social turning points. Furthermore, they show the importance of filmmakers asking the right questions and recording them. (Alexander Knoth)
9. Beijing Bastards (1993) by Zhang Yuan
It is difficult to apply a purely critical perspective to Beijing Bastards, a film that stands as a landmark of independent Chinese cinema. Good or bad – such judgments feel irrelevant for works that can be categorized as Generational Cinema. The few years past since 1993 feel like centuries for China, and the film remains a raw reflection of the post-Tiananmen era, at least of the No-Future youth that persisted. In itself, it is simply one of the early attempts at independent Chinese cinema by a member of the now-famous Sixth Generation of the Beijing Film Academy, but its significance goes beyond that. (Jean Claude)
10. The Square (1994) by Zhang Yuan and Duan Jinchuan
Covering 215 thousand square meters, with Mao’s portrait visible on the Gate of Heavenly Peace, the Tiananmen Square, which is located in the very centre of the Chinese capital, is widely known for the massacre that took place there in 1989. Weeks after the protests, this historic site returned to become the main destination both for tourists and locals, maintaining its status as not only the most public space in the country, but also a symbolic heart of Communist China. In 1989, Zhang Yuan – one of the leading members of China’s Sixth Generation – was still studying at Beijing Film Academy. When the protests died down, he often rode his bicycle around the square, observing what was happening there in the wake of the massacre. Five years later, he agreed to collaborate with Duan Jinchuan, who would later become a prominent figure in the New Documentary Movement. Together, they recorded the place they perceived as a stage, with its visitors being no more than performers. Despite being banned in China, their documentary was screened at various international festivals and won the FIPRESCI award at the Yamagata Documentary Film Festival in 1995. (Magdalena Nieświec)
The article continues on the next page
