The contemporary Chinese cinema is undergoing rapid but positive change. Nowadays, the Chinese film makers show keen interest to inculcate innovative ideas in their films. For instance, the film Devil at the Doorstep by the Chinese actor cum director Jiang Wen is one of the best examples which highlight the foretold change. …
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As pointed out, the protagonist was forced to be the custodian of Kosaburo Hanaya and Dong Hanchen. Before this incident, Ma Dasan’s life was flowing slowly without much problem. But this incident forced Ma Dasan to be in a dilemmatic situation because the person who handed over the prisoners pointed out that he must look after the prisoners with due care. The following events include the futile effort undertaken by Ma Dasan to keep the prisoners safe, hiring of One Stroke Liu to execute the prisoners and failure to do so, Kosaburo Hanaya’s return to his homeland, and the fire in Ma Dasan’s village, Ma Dasan’s attempt to take revenge and his ultimate doom. The most shocking incident in the film is the large scale massacre at the feast. This incident ignited the feeling of revenge in Ma Dasan’s mind. Earlier, Ma Dasan’s role in the village (say, his community or society) was to obey the law and order without showing his hesitation. But this incident transformed him from a passive individual to an active individual who is ready to give up his life for a noble purpose. A bird’s eye view of the film leads one to misinterpret the same as an anti-Japanese invasion genre film. But deeper understanding leads one to the realization that the director’s attempt is to mock the hypocrisy of the Chinese authorities and the mentality of the Chinese villagers towards the Japanese invaders. For instance, in the film, children are ready to share secrets with the invaders and the villagers feel satisfied by the supply of food grains. Besides, this unveils the passive attitude shown by the people towards the authorities. The fundamental problem of violence in the film faced by the ignorant villagers without a unified authority is two sided. For...
The contemporary Chinese cinema is undergoing rapid but positive change. Nowadays, the Chinese film makers show keen interest to inculcate innovative ideas in their films. For instance, the film Devil at the Doorstep by the Chinese actor cum director Jiang Wen is one of the best examples which highlight the foretold change. Jiang Wen’s prior status as an actor did not hinder him from choosing the story line of the film Devil at the Doorstep, which carries violence and mental trauma faced by individuals in a closed society. The film was able to gain the jury prize at Cannes, but that did not help Jiang Wen as a direThe film Devil at the Doorstep by Jiang Wen was accepted by the international viewers but less accepted by the Chinese government. The main problem faced by Jiang Wen was the restriction upon individual freedom of a director with the international outlook. The main reason behind the less acceptance and ban on the film was the realistic and critical attitude of the director towards power politics, violence and its effect upon the individuals. The protagonist’s transformation from an inactive stage to activism and as the mouthpiece of the director to communicate with the viewers is the most important development in the film. The narrative feature of the film is conversational and less ambiguous because of the usage of the historical plot. The stylistic features of the film raise the same from its limitations to the international arena of cinematography.
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“Analysis of the Chinese Films Essay Example | Topics and Well Written Essays - 1000 Words”, n.d. https://studentshare.org/visual-arts-film-studies/1408613-analysis-of-the-chinese-films.
Take for example his 2000 ‘Crouching Tiger, Hidden Dragon’ film. The film was produced in collaboration with the US counterparts and has received a lot of attention and applauding among the American movie lovers. The movie has sold more in the American film market than the Chinese film market.
The theme that most suits the movie is commercialization. Commercialization is defined as the process of introducing a new product or method of production into the market. Inhabitants of the rural China are hit by a deadly disease; one that required transfusion of blood to its victims.
The main center of wuxia film production was Shanghai, but of late this center has shifted to Hong Kong and Taiwan (Stephen Teo). This shift in the production base has brought with it some changes in the production ideologies of the films, so that now the films can be seen to have more Hollywood style to them, and are formulated on a Western pattern (Stephen Teo).
A vast percentage of films, however, irrespective of linguistic and cultural media do attain global popularity and international success because they speak to that which is universal and common to all people - emotions, dreams and relationships (Urry, 1995).
Given these observations, we would expect to find evidence of moderate emotional behavior or even emotional suppression on the part of the Chinese. In a study of psychiatric disorders,Kleinman (1986, 110) concluded that Chinese culture was indeed characterized by emotional restraint.
From this paper we can conclude many different things, namely the fact of just how much American cinema has affected and influenced Chinese cinema overall, and, being an imported form, cinema in China has been influenced by foreign films, particularly by that of Hollywood films in the 1920s-1940s and Russian films in the 1950s-1960s.
People have been afraid of death and they have often believed that the balance between life and death can be violated. It is noteworthy that the contemporary beliefs on the undead are dominated by the western monster, a zombie that is typical of American pop culture. This is the result of the spread of the American culture through media.
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