Advertisement

The Separation of Production

Chapter

Abstract

This chapter presents how a group of films were separated from the mainstream in the 1990s from the production end. The appearance of independent production, enabled by the film industry reforms as well as the courage of individuals, was the driving force behind the rise of the second art wave. The new mode of independent filmmaking preferred certain subject matters and stylistic choices, which inspired other in-system film productions to follow. Unlike the first art wave of the Fifth Generation cinema, the second art wave was denied legitimacy domestically and had to rely on international film festival circuits for survival. Consciously aligned with other youth subcultures and forms of modern art, the second art wave gained its alternative positioning, which helped to consolidate the art cinema as a whole.

Bibliography

  1. Bourdieu, Pierre, and Randal Johnson. The Field of Cultural Production: Essays on Art and Literature. Cambridge, UK: Polity Press, 1993.Google Scholar
  2. Chen, Haosu. “Guanyu yulepian zhutilun ji qita” [About the Ontology of Entertainment Film and Other Things], in China Film Year Book 1989, 7–11. Beijing: Zhongguo dianying chubanshe, 1989.Google Scholar
  3. Cheng, Qingsong, and Huang Ou. Wo de sheyingji bu sahuang [My Camera Does Not Lie]. Beijing: Zhongguo youyi chuban gongsi, 2002.Google Scholar
  4. Clark, Paul. Reinventing China: A Generation and Its Films. Hong Kong: Chinese University Press, 2005.Google Scholar
  5. Dai, Jinhua. Wu zhong feng jing: Zhongguo dianying wenhua, 1978–1998 [Landscape in the Mist: Chinese Film Culture, 1978–1998]. Beijing: Beijing daxue chubanshe, 2000.Google Scholar
  6. Duan, Xiaojun. “Dianying ‘diwudai’ yu ‘diwudai’ dianying,” Dianying pingjie [Movie Reviews], no. 08 (2009): 1–4.Google Scholar
  7. Huot, Marie Claire. China’s New Cultural Scene: A Handbook of Changes. Durham: Duke University Press, 2000.Google Scholar
  8. Li, Ming. “Zhongguo xindianying daoyan qunxianglu” [The Profiles of Chinese New Cinema Directors]. DV@Shidai [DV@Time], no. 10 (2007): 119–22.Google Scholar
  9. Lin, Shaoxiong. “Guanyu jin 20 nian zhongguo dianying de 18 ge guanjianci—diwudai yu diliudai daoyan bijiao” [Eighteen Key Words About Chinese Cinema of the Last Twenty Years—The Comparison Between the Fifth Generation and the Sixth Generation Directors]. In Duoyuan yujing zhong de xinshengdai dianying [The New Generation Films in Pluralistic Discourses], edited by Chen Xihe and Shi Chuan, 201–33. Shanghai: Xuelin chubanshe, 2003.Google Scholar
  10. Liu, Qingfeng. “The Topography of Intellectual Culture in 1990s Mainland China: A Survey.” In Voicing Concerns: Contemporary Chinese Critical Inquiry, edited by Gloria Davies, 47–70. Lanham, Maryland: Rowman & Littlefield Publishers, 2001.Google Scholar
  11. Lu, Xiaobo, and Elizabeth J. Perry. Danwei: The Changing Chinese Workplace in Historical and Comparative Perspective. Armonk, NY: M. E. Sharpe, 1997.Google Scholar
  12. Ni, Zhen. Gaige yu zhongguo dianying [Reforms and Chinese Cinema]. Beijing: Zhongguo dianying chubanshe, 1994.Google Scholar
  13. Pickowicz, Paul G. “Social and Political Dynamics of Underground Filmmaking in China.” In From Underground to Independent: Alternative Film Culture in Contemporary China, edited by Paul G. Pickowicz and Yingjin Zhang, 1–21. Lanham, MD: Rowman & Littlefield, 2006.Google Scholar
  14. Teng, Jinxian. “Zhongguo dianying yi jiu ba qi: Yinmu xia de sikao” [Chinese Cinema in 1987: Thoughts Off the Screen]. Dangdai dianying [Contemporary Cinema], no. 2 (1988): 1–4.Google Scholar
  15. Wang, Jing. High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China. Berkeley, CA: University of California Press, 1996.Google Scholar
  16. Wang, Jifang. Ershishiji zuihou de langman: Beijing ziyou yishujia shenghuo shilu [The Last Romantics of the 20th Century: Records of the Lives of Beijing’s Free Artists]. Beijing: Beifang wenyi chubanshe, 1999.Google Scholar
  17. Wang, Baoju. “He Jianjun: yu huibai, yu feiyang” [He Jianjun: Failed but Spirited]. Zhongguo xinshidai [China New Time], no. Z1 (2002): 75–77.Google Scholar
  18. Wu, Xiaoli. Jiushi niandai zhongguo dianying lun [On the Chinese Cinema of the 1990s]. Beijing: Wenhua yishu chubanshe, 2005.Google Scholar
  19. Yin, Jindi. “Beijing de wenhua getihu shang” [Beijing’s Self-Employed Artists Part I]. Liaowang [Outlook] 22 (1992): 30–31.Google Scholar
  20. Zhang, Xudong. Chinese Modernism in the Era of Reforms: Cultural Fever, Avant-Garde Fiction, and the New Chinese Cinema. Durham, NC: Duke University Press, 1997.Google Scholar
  21. Zhang, Xianmin. Kanbujian de yingxiang [Invisible Images]. Shanghai: Shanghai sanlian shudian, 2005.Google Scholar
  22. Zhang, Zhen. “Introduction.” In The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century, edited by Zhen Zhang, 1–45. Durham: Duke University Press, 2007.Google Scholar
  23. Zhang, Li, and Aihwa Ong. Privatizing China: Socialism from Afar. Ithaca: Cornell University Press, 2008.Google Scholar
  24. Zhang, Nuanxin, and Li Tuo. “Tan dianying yuyan de xiandai hua” [On the Modernization of Film Language], Dianying yishu [Film Art] 3 (1979): 40–52.Google Scholar
  25. Zhongguo dianying tushi: 1905–2005 [An Illustrated History of Chinese Cinema: 1905–2005]. Beijing: Zhongguo chuanmei daxue chubanshe, 2007. Google Scholar
  26. Zhu, Ying. Chinese Cinema during the Era of Reform: The Ingenuity of the System. Westport, CT: Praeger, 2003.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Li Yang
    • 1
  1. 1.Department of Foreign Languages and Literatures Lafayette CollegeEastonUSA

Personalised recommendations