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Emergence of women’s cinema in China Being a woman in patriarchy has been a resonating theme in the Chinese films of the 1980s, where the narrative accorded women a central position in the purview of cinematic representation (Dissanayake 13). While the mainstream Chinese cinema of the 20th century was benchmarked on portraying martial arts in all its fury, there had been a diversion, albeit at a subliminal level, in the way women directors addressed gender discourses in relation to making of the modern Chinese society. However, one can find a blend of different opinions coming from women directors of contemporary Chinese cinema. Cui cites an interview where three well-known Chinese women directors talked about three distinct purposes behind filmmaking. Director of Sacrificed Youth Zhang Nuanxin candidly admitted that she was driven more by artistic impulses than by pledging allegiance to any particular genre of cinema, contextually ‘women’s cinema’. Maker of The Women’s Story Peng Xiaolian endorsed the idea that women’s cinema should by all means reflect “a woman’s psychology”, whereas Hu Mei insisted that films centered on women ought to be compelling enough to let the audience view the world before the camera from women’s perspectives .
When it comes to granting exclusivity to women’s cinema, very few directors from the Chinese diaspora could successfully negotiate the mammoth task of depicting women’s lives during the transnational shift in the 1990s. Hong Kong-based director Ann Hui is certainly amongst those rare breed of filmmakers who set a paradigm for understanding the concerns only women dealt with in times of handover. (Eleftheriotis and Needham 89). Hui’s Song of the Exile (1990) delineates with profound craftsmanship the intersections between political landscape and subjective memory, and examines the contours of individualism and interpersonal relationships. In years to come, Ann Hui would become the most revered Chinese woman director in Hong Kong, garnering international fame (Wang 35). Populated by female characters, the film analyses the agony of homecoming at a time of personal and national turmoil. Most importantly, Song of the Exile incites the viewers to support the feminine viewpoint embedded in the storyline (Naficy 233). Clara Law: Films at cultural crossroads Macau-born woman director Clara Law, who later migrated to Australia before the United Kingdom transferred sovereignty over Hong Kong to the People’s Republic of China in 1997, is most well known for her directorial masterpieces Farewell, China (1990), Autumn Moon (1992), Floating Life (1996) and The Goddess of 1967 (2000). Law’s films powerfully deliver the message that gender identity is susceptible to falter under cross-cultural influence. The first three of the aforementioned films sketch the lives of young people roving from one continent to another in search of fortune. The concept of the Global Chinese, as posited by Marchetti, becomes pronounced in Law’s cinematic undertakings that draw migrant characters without any apparent homogeneity in class, ethnicity, age, or gender traveling around the globe
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Indian National Cinema. Cinema, since its evolution, has emerged as one of the most stimulating means of influencing the human race. Whether it provides entertainment or knowledge, or a combination of the two, motion pictures have grasped the attention of every individual regardless of race, culture, religion and language.
This essay will endeavor to highlight the cinematic and theatrical productions of Meng Jinghui, Yu Ranjun, Li Yimao and Hu Mei. This essay will also view the requisites for the production of Chinese cinema and theatre. The extra cultural and intra cultural stylistic elements will be explored.
China’s movie industry has witnessed superb work from talented film directors and script writers since the industry’s inception in the early 20’Th century. Yoo (2012) says that with respect to content and artistic works, thematic construction can be cited as one of the main aspects that propels Chinese movies to international recognition. In the year 2004, Jia Zhangke, a renowned film director and script writer coordinated production of the movie dubbed “The World”.
Today movies that are being produced across the borders have incorporated a variety of sexual and violent content. The Japanese filmmaking agency is also a victim of this trend in which entertainment is provided by using bold content. It is quite astonishing that such content is appealing to the masses who prefer movies which contain sexual activities or violence, specially the youngster are more inclined towards movies which portray exploitation.
The recognition of Asian artists internationally has also led to the growth of the Asian art industry. The sudden rise in fame of the Asian art industry has posed several questions. Many still wonder for how long the industry has been there. There is, however, no single history of the Asian modern art.
Hong Kong has made tremendous impact on the whole Chinese film industry, in particular, due to its prominent filming trends and distinguishable characteristics. Before the return into China, there was an euphoric discussion about Hong-Kong's astounding development to a world-class city.
And because of this, is Hollywood changing its' perception on Asian culture I don't think so.
We cannot deny that Asians are a cultural minority in Hollywood TV and film industry. In most films, unless the show is about Asians, you can hardly see any Asians in the cast.
No matter what country you are in, what characters you are portraying and what story you are trying to tell, what mainstream success demands is to craft it in such a way that it appeals each and everyone who is