<h1 class= "pgc-h-arrow-right" > people have ups and downs, and our country's films have also experienced "four ups and downs"</h1>
Hello everyone Here is a good talk about movies, today in the picture and text to share with you some of the stories of the development of our country's film
After the founding of the People's Republic of China, China's film industry has developed greatly. The films of the first seventeen years of new China have made remarkable achievements, but they have also experienced a tortuous process of "four ups and four downs".
In the first "rise and fall" (1950-1952), excellent films such as "White Haired Girl", "Iron Warrior", "Cuigang Red Flag", "My Life", "The Legend of the New Children's Heroes", "Southern Expedition and Northern War" and so on were produced. Among them: "White-Haired Girl" and "My Life" are not only ideological, but also have high culture, aesthetic value and distinct and strong national style.
The second "ups and downs" appeared before and after the "Double Hundred" policy was proposed (1 955-1957). "Blessings" (the first color feature film of New China), "Yingrui Cun", "Plain Guerrilla", "Shangganling", "Li Shizhen" and other works that still have artistic charm came out at this time. Another feature of the film creation of this issue is that the theme, style and style of the film have begun to diversify. "Nurse's Diary", which depicts the life of intellectuals, the revolutionary lyric film "The Story of Liubao", and the comedy "Before the Arrival of the New Director" all appeared in this period.
The third and most fruitful climax was marked by a tribute film for the 10th anniversary of the founding of the People's Republic of China in 1959. This year, a large number of good films such as "Lin Zexu", "Lin JiaPuzi", "Song of Youth", "Nie Er", "Youth in the Fire of War", "New Biography of Veterans", "Five Golden Flowers" and so on were launched. As revolutionary realist works, they are also maturing artistically.
After three years of economic hardship and adjustment of literary and artistic policies from 1960 to 1962, a brief small climax occurred between 1963 and 1964. In the past two years, such artistic masterpieces as "Early Spring february" have been filmed, and excellent films such as "Heroes and Children" and "Stage Sisters" have come out.
At the end of the 1970s, while adhering to the socialist direction of film, being close to real life, expressing the human beauty of revolution, and enabling the audience to obtain healthy aesthetic pleasure, a large number of excellent films emerged, and they also made breakthroughs in the exploration of film art forms. Films such as "Little Flower" and "Bitter Laughter" have taken the first step in changing the monotonous and poor film language in previous films; the subtle and deep artistic style of "Bashan Night Rain" and the "psychological structure" adopted by "Legend of Tianyun Mountain" in the narrative method are not only appreciated by experts, but also recognized by the majority of audiences. Films such as "Neighbor" and "Sand Gull" not only have a kind of self-consciousness in comprehensively embodying the "real aesthetics," but also have achieved outstanding achievements. "Xiyingmen" and "People Reaching Middle Age" touch on issues of universal significance in the lives of the vast number of peasants and intellectuals, and also have their own characteristics in art: the former won with a smooth light comedy style and won the voice of up to 900 million viewers; the latter was praised for its solid literary foundation and Pan Hong's outstanding performance. Inspired by traditional Chinese aesthetic thought, "The Old Story of Seongnam" creates a beautiful artistic conception; "Camel Xiangzi" truly and vividly reproduces the customs and customs of old Beijing, and Sichengova's exquisite performance also adds a lot to the film.
In the 1980s, the path of artistic innovation and exploration was further broadened, breaking through the pattern of "documentary aesthetics" in the previous stage, and the shock wave of "fifth generation directors" appeared, and a number of "image aesthetics" style works led by "One and Eight" and "Yellow Land" were launched, several of which also won awards at important international film festivals.
At this stage, the films that had a greater impact at home and abroad were: "Yellow Land" (1984), "Garland Under the Mountain" (1984), "Sun Yat-sen" (1986), "Old Well" (1987), "Red Sorghum" (1987), "Weiwei Kunlun" (1988), "Spring Peach" (1988), "Evening Bell" (1988), "Baise Uprising" (1989), "Founding Ceremony" (1989), "The Year of the Bean Famine" (1989), "The Year of the Life" (1989). ) and so on.
A number of revolutionary historical films, such as "The Founding Ceremony", have made major breakthroughs in the excavation and refinement of historical events, the portrayal of the image of leading figures, and the creation and rendering of environmental atmosphere, which is a major harvest of film creation at this stage.
In addition, as an integral part of Chinese films, Hong Kong and Taiwan films have also played a non-negligible role in the development of Chinese films.
Hong Kong films are a major force in the Asian film market. Hong Kong produces more than 100 films every year, half of which are exported overseas, with an annual export revenue of about ONE billion Hong Kong dollars. As Hong Kong's own film market is too small, it must rely on overseas income. According to the analysis, the overseas income of a Hong Kong film (including cinema, cable TV, video, etc.) accounts for more than half of the total revenue.
In addition to being distributed in China's Hong Kong and Macao Special Administrative Regions, Taiwan Province and mainland China, Hong Kong films also have markets in Southeast Asia, the United States, Canada, Europe, Australia, South Korea and other places. There are four main factors that can enter the overseas market: the first is to cater to the tastes of overseas audiences; the second is a sound distribution network; the third is more than ten language versions; and the fourth is to vigorously shape the stars.
In the early 1980s, there was a crisis in the Taiwanese film market, and the screen was full of violent films and boring frolic films, most of which were crude works. However, at that time, "China Film" resolutely used a group of cutting-edge choreographers such as Wu Nianzhen, Yang Dechang, and Hou Xiaoxian, and made films such as "The Story of Time" and "The Story of Xiao Bi" that eliminated new nature and had a local flavor of Taiwan, which were loved by the audience, and Taiwanese films began to recover and improve. Subsequently, with "China Film" as the base camp, various independent production companies have also successively let young new directors make innovative films, such as "The Man from the Wind Cabinet", "Dowry A Oxcart", "Yu Qing Sister-in-law", "Childhood Past", "Rapeseed", etc., setting off a new wave of films in Taiwan. Subsequently, China Film carefully filmed films such as "Peng fat", hoping to carry forward the fine tradition of realism in Taiwanese films, introduce new voices and new scenes, create films that can grasp the psychology of the audience and be full of entertainment creativity, and lead other independent production companies to revive the Taiwan film market and survive in the crisis.
In short, films on both sides of the Taiwan Strait and Hong Kong and Macao have always been interconnected and influenced, and their progress and excellent film works have jointly created a splendid Chinese film culture and made important contributions to the development of world film art.