How many generations of directors are there in China?

There is no standard definition of division, which is generally a conventional statement. Specifically divided into:

1, "the first generation of directors" refers to the pioneers of China films in the 1920s, such as Zhang Shichuan and Zheng Qiuzheng.

2. "Second generation directors" refers to a group of directors who were active in the film industry in 1930s and 1940s, such as Cai Chusheng, Sun Yu, Fei Mu and Wu Yonggang. They are students of the first generation of directors.

3. The "third generation directors" refer to directors who were active in the film industry in 1950s and 1960s, such as Zheng, Xie Jin,,, Ling Zifeng and Xie Tieli.

4. The "fourth generation directors" refer to directors who graduated from Beijing Film Academy or various film factories before the Cultural Revolution and emerged in the new era, such as Zhang Wenxing, Teng Wenji,,, Zheng, etc.

5. "The Fifth Generation Directors" refers to a group of directors who graduated from the 78th session of the Film Academy, such as Chen Kaige, Zhang Yimou, Wu Ziniu, Tian Zhuangzhuang and He Qun.

6. The "sixth generation directors" refer to a group of directors who received film education in the mid-1980s and started filming in the early 1990s. For example, Guan Hu, Senior Lu and Lou Ye.

7. "Seventh generation directors" refers to the formulation of "new generation directors", such as Jiang Wen, Jia,,,.

Extended data

First generation director

The first generation of directors refers to film directors in the silent film period, who were generally active from the early last century to the late 1920s. 19 13, Zheng Qiuzheng and Zhang Shichuan co-produced "One Wife Is Difficult", and made independent screenwriter creation, and began to try to get rid of the traditional opera stage, which was praised as "laying the first cornerstone for the film industry in China". They also became the "first generation directors" of China.

Second, second-generation directors

The main activities of the "second generation directors" were in the thirties and forties, and some directors were still working in film posts until the fifties, sixties and even eighties. The outstanding contribution of the "second generation directors" is to complete the transformation of China films from silent films to talking films.

In art, the greatest feature of this generation of directors is realism. At the same time, they pay attention to the combination of "realism" and film photography, and gradually master the basic laws of film art, gradually get rid of the limitations of the stage and give full play to the advantages of film art.

Third generation and third generation directors

The active period of the third generation directors can be divided into three stages:

1, the first stage: 1949 from the founding of New China to 1965 during the Cultural Revolution. His outstanding works include Hua Shui's War in the South, White-haired Girl, Cui Wei's Song of Youth, Private Zhang Ga and Xie Tieli's Early Spring February.

2. The second stage: the decade of the Cultural Revolution from 1966 to 1976. Except for several good films such as Venture, Hai Xia and Sparkling Red Star, the creation of feature films is almost blank, and China films are basically at a standstill.

3. In the third stage, after the Cultural Revolution, the third-generation directors who have passed middle age shot a lot of excellent works, and entered the artistic harvest period, such as furong town, Opium War, Camel Xiangzi, Border Town and Spring Peach. The creative period of the third generation directors is also the tortuous development period of China's films.

Fourth and fourth generation directors

Most of the fourth generation filmmakers are creative workers composed of graduates from Beijing Film Academy before the Cultural Revolution. They met the Cultural Revolution as soon as they graduated, so their creative life began after 1978. Due to the limitation of the times, the fourth-generation directors failed to get in touch with films outside the Soviet Union during their study, which affected the creativity and expressiveness of the fourth-generation directors' film language.

However, they suggested that movies should not be limited by the rigid stage, and should choose natural, true and simple forms to explore the poetry and philosophy of ordinary life, and at the same time start to reflect on history. The creative climax of the fourth generation broke out with this reflection, and the creation of the fourth generation led to the revival of China films.

The countryside has gradually become the central theme of the fourth-generation works, and their expression of the countryside as the epitome of China society has also directly influenced the later fifth-generation directors.

References:

Baidu encyclopedia-the first generation of directors

Baidu Encyclopedia-The Second Generation Director

Baidu Encyclopedia-The Third Generation Director