Who are the fifth generation directors in China? What are their styles and masterpieces? Ask god for help

The "fifth generation directors" refer to young directors who graduated from Beijing Film Academy in 1980s (later extended to the departments of photography and fine arts). These directors were involved in the vortex of social unrest in China when they were young. Some of them went to the countryside, and some of them were soldiers, and they were devastated in 10. In the era of reform and opening up, they received professional training and embarked on the film industry with innovative passion. They are particularly keen on new ideas and new artistic skills, trying to find a new angle in each film. They are eager to explore the history of national culture and the structure of national psychology through movies. Strive for originality in material selection, narration, characterization, lens application and picture processing. The works of the "fifth generation directors" are especially subjective, symbolic and moral. When they once appeared as a group force, although the number was small, it caused a huge shock wave to the film industry in China. [Edit this paragraph] The fifth generation of young filmmakers have grown up. Because of the catastrophe of the Cultural Revolution, they fought tenaciously at the bottom of the unrest. After returning to school, they systematically studied the professional knowledge of film, accepted the popular western philosophy and aesthetic thoughts at that time, and formed new values and aesthetics. These anti-standard spiritual qualities are compatible with the strong subjective consciousness and reflective thought of the whole literary and art field at that time. Their films have a profound life accumulation, as fresh and unique as tender grass after a cold winter. As Chen Kaige said: "Everything is inseparable from the experience and feelings of the author. Ten years of worry and anger, four years of study, and another diarrhea, can you not make' and the sixth palace powder disappear'? " Like the fifth generation of Chinese mainland, Hongkong New Wave has no manifesto or program, and there is no * * * organization. As Xu Anhua said, the directors of New Wave have no consistent ideology. But from their films, we can find a vision that tears off the flashy surface of modern Hong Kong and presents the truth naked. This vision of reality was not available in the past. Faced with the vigorous development of urban culture, these film and television people born after the war have the courage to express their feelings under the impact of local traditions and foreign influences. [Edit this paragraph] Features of the works The "fifth generation" movies also reflect complex history and reality with a strong desire for exploration and subjective consciousness, reveal the historical origin of social changes with profound historical thinking and keen philosophical speculation, analyze stale traditional concepts, show the vivid charm of the nation, and show unprecedented sense of hardship and strong emotions. As Chen Kaige said, "Our feelings are so deep and complicated that it is difficult to express them clearly in words. It is a mixed feeling of sadness and joy, a sense of history and responsibility from ancient times to the present, and a hope and belief for the future ... I am eager to express this belief and emotion through my own works "(Chen Kaige's With Deep Love for an Innocent Child, Film Art Reference 1984 15, fifth generation. The rise of the fifth generation film directors is considered to be marked by the film Yellow Land. Representative works include Chen Kaige's Yellow Land (1984), Grand Parade (1986), king of the children (1987) and Farewell My Concubine; Zhang Yimou's Red Sorghum (the first work that surprised audiences and critics at home and abroad), Hanging the Red Lantern High, Living, My Mom and Dad and Hero; Tian Zhuangzhuang's hunting grounds Zasa (1985), Horse Thief (1986) and Blue Kite; Wyndell dichinson Black Valley (1984) and Night Bell (1988) in Wu Ziniu; Li's Pink and Babies in Love; Huang Jianxin black cannon incident, stand up straight, don't get down, back to back, face to face, stop at the red light and go at the green light; He Ping's "Knights in the City", "Heroes of Heaven and Earth" and Jianqi Huo's "The Man with the Dog in the Mountain" are warm. The fun of Ningying, the story of the police and the warm summer. At this point, the fifth generation film has come to an end. However, Tsui Hark, Xu Anhua and Yim Ho, the new generation who received foreign professional film education and were born locally after the immigration tide in the 1950s, were the moment when the rights of the previous generation of filmmakers were handed over in the late 1970s. In addition, the society became richer and richer at that time, and the demand for entertainment (movies were an important form of entertainment for Hong Kong people at that time) increased greatly, so a large group of filmmakers were able to shoot movies from a newer and more realistic perspective. Xu Anhua's "Go to the Angry Sea" is the product of this environment. The details of comparative literature and English literature in college helped her better grasp the sense of history and understand the character. After she came back from studying movies in England, she had rich experience and became familiar with this serious social theme through TV practice, so the movies looked orderly and distinct. But also bears a heavy sense of social and historical responsibility. [Edit this paragraph] The main representatives of the "fifth generation directors" in the member list are Chen Kaige, Zhang Yimou, Wu Ziniu, Tian Zhuangzhuang and Huang Jianxin. In the fifth generation of directors, a number of outstanding directors have emerged, such as Li, Hu Mei, Zhou Xiaowen, Li, Li and Li. During this period, they also created their own distinctive works. [Edit this paragraph] Member Profile Chen Kaige (1952-) 1982 graduated from the director department of Beijing Film Academy. Since 1984, he has directed Yellow Land, Grand Parade, king of the children, Walking and Singing, Farewell My Concubine, Romantic Moon and other works. Most of his works have been shortlisted for important international film festivals, and some of his works have won grand prizes at important film festivals such as Cannes. Chen Kaige's achievement first lies in his lofty humanistic spirit and his concern for human noumenon and human existence. He is good at analyzing the restriction and influence of the heavy burden of history and tradition on people's spirit, showing people's complexity, and criticizing unreasonable and inhuman human weaknesses. His films are full of concern and concern for a more harmonious and intelligent human existence. With its profound cultural background and solid artistic foundation, it expresses strong humanistic consciousness and aesthetic pursuit, mobilizes various film means, and forms its own unique thick, sharp, peaceful and intense film style. The film directed by Chen Kaige: 1. The Yellow Land, directed by Chen Kaige, tells the story of Gu Qing, a literary and art worker of the Eighth Route Army, who traveled from Yan 'an to the mountainous area and lodged in a poor peasant family during the War of Resistance against Japanese Aggression period. Daughter Cui Qiao is engaged to her younger brother for burying her mother. She accepted a bride price from a man much older than her and got engaged to an early marriage. The new life information brought by Gu Qing opened Cui Qiaomeng's eyes. This desire made her finally escape from her husband's family, cross the Yellow River at night and go to the Eighth Route Army. The success of Yellow Land is that it only takes the story as the shell, and through the development of time and space, it expresses the author's childlike love for the land and people. Many non-plot, non-character modeling factors in the film, such as the yellow land of vast expanse, the serene and broad image of the Yellow River, and even many descriptions of customs and people's feelings, such as the procession of drums and music singing together, the waist drum array composed of 150 people, and the rain-seeking scene under the scorching sun, are closely combined with the characters and become an important part of the whole picture image. The film has also made great progress in photography, color, modeling and composition, but there is no hidden meaning. "Yellow Land" unifies land, folk culture and characters, unifies narrative factors, metaphorical factors, lyricism and philosophy, shows the simple, desolate and profound folk customs of Shaanxi Plateau, and expresses the creator's thoughts on national characteristics and farmers' fate. The film won the 1985 Golden Rooster Award for Best Photography; He won six international awards, including 1985 Yin Bao Prize in the 38th Locarno International Film Festival. 2. During this period, there were King of Children directed by Chen Kaige, Black Valley of wyndell dichinson directed by Wu Ziniu, Zasa on the Hunting Ground and Horse Thief directed by Tian Zhuangzhuang. 3. Since 1990s, the artistic exploration of China filmmakers has become more diversified. Chen Kaige produced Farewell My Concubine, which is quite different from the previous style. With the help of the tortuous life and fate of several Peking Opera actors, the film explores and interprets the eternal contradiction between human survival ideal and reality in philosophy. The film won eight international awards, including the Palme d 'Or Award at the 46th Cannes International Film Festival, for its skillful artistic skills and rich oriental humanistic themes. Zhang Zhang Yimou Yimou (1951-)1982 graduated from the photography department of Beijing Film Academy. I started as a photographer. His photographic works in One and Eight, Yellow Land and Military Parade are widely praised for their pursuit of the power and symbolic significance of screen modeling. 198 1 directed Red Sorghum independently, and then directed Chrysanthemum Bean, Red Lantern Hanging High, The Story of Autumn Chrysanthemum, Shake, Shake and Shake to Waipo Bridge, Tell me what you want, and so on. Almost all works have been shortlisted for important international film festivals, and some have even won grand prizes. The outstanding features of Zhang Yimou's works are his profound understanding of China's traditional feudal consciousness and strong critical spirit, which contains a strong sense of history and life, as well as the unique landscape of simple folk customs. Zhang Yimou's films are constantly exploring and innovating in style and language, which represents the rise of a new film trend. The film directed by Zhang Yimou: 1. After the late 1980s, the dramatic changes in China's film market made the "exploration film" with high music and few songs unsustainable. Young and middle-aged directors in China are divided in their artistic pursuit. Some directors have made films that combine exploration and appreciation. Among them, black cannon incident directed by Huang Jianxin and Red Sorghum directed by Zhang Yimou are the most representative works. Red Sorghum depicts the primitive and wild life of a group of farmers in China in the 1920s and 1930s, and their bloody battles with the invaders. The plot of the film is very dramatic, praising the freedom of life through characterization. Love is true love, hate is true hate; Great love and great hate, great life and great death. The plot is full of twists and turns, which is unexpected, but its film language is inherent in the "exploration film". Bright, compact and Zhang Chi measure the rhythm, pictures, colors, lights and their visual images vividly and strongly. The film 1988 won the Best Feature Film Award in the 8th Golden Rooster Award, 1988 won the Best Feature Film Award in Hundred Flowers Award, and 1988 won the Bear Award in the West Berlin International Film Festival. After the 1990s, the artistic exploration of China filmmakers became more diversified. Zhang Yimou made a complete documentary style "The Story of Autumn Chrysanthemum". Through a story of "people suing officials", the film praises the self-esteem, self-improvement, self-confidence and the awakening of legal concept of small people. The film won 1993 Golden Rooster Award for Best Feature Film, 1994 Hundred Flowers Award for Best Feature Film, and 14 Golden Lion Award at the Italian Venice Film Festival. Wu Ziniu Wu Ziniu (1953-) 1982 graduated from the director department of Beijing Film Academy. Wu Ziniu's representative works are basically works about war. Among them, Black Valley in wyndell dichinson, Late Bell, Happy Hero, Teacher of Yin and Yang and Nanjing Massacre. Reflection on the war is a major feature of Wu Ziniu's creation. The relationship between war and human beings, eliminating the war in Darfur and calling for peace are the themes of his creation. The Black Valley of wyndell dichinson shows the spiritual struggle of life and death in the atmosphere of war. "Late Bell" touched all the scars left by the war with the sincerity of human nature; Nanjing Massacre does not simply describe the brutality of the Japanese invaders, but focuses on the idea that both Chinese and Japanese people are victims of this war and look down on this war from the height of human nature. Wu Ziniu's works have a unique style. Under the harsh and rough appearance, there is a steady stream of emotions, deep and dignified, full of sincerity and poetry. Most of his films have won international and domestic awards. Movies directed by Wu Ziniu: Military blockbusters include Red Cherry directed by Ye Daying and Nanjing Massacre 1995 directed by Wu Ziniu. These two films are both about the anti-fascist war, and their similarity lies in that they both focus on the fate of people in the war, the suffering and irreparable mental trauma caused by the war. (1977- 1997) king of the children directed by Chen Kaige, Black Valley in wyndell dichinson directed by Wu Ziniu, Zasa directed by Hunting Ground and horse thief directed by Tian Zhuangzhuang were also called "exploration movies" in this period. Tian Zhuangzhuang (1952-)1982 graduated from the director department of Beijing Film Academy. He directed the films September, Zasa in the Hunting Ground and horse thief. The outstanding feature of Tian Zhuangzhuang's creation is that films pay attention to human mind and nature. The praise of simple Mongolian customs and the display of vast and magnificent natural landscape in Hunting Ground Zasa show the creator's ideal realm of harmony and balance between heaven and earth. Starting from the needs of human existence and psychology, horse thief explores the relationship between man and religion, and between man and nature. Tian Zhuangzhuang's films are vague in narrative, delicate and fluent in philosophical and emotional descriptions, which form a unique style in creation, but also alienate most audiences. Tian Zhuangzhuang's later films, Drummer, Rock Youth and Big Eunuch Lee, have greatly changed their film styles. Huang Jianxin (1954-) graduated from the senior director class of Beijing Film Academy 1983. 1985 shook the film industry with her debut novel black cannon incident. Later, he directed dislocation, reincarnation, five commandments, stand up straight, don't get down, back to back, face to face, stop at the red light, go at the green light, and ambush. Many films have won international and domestic awards. Different from other "fifth generation directors", Huang Jianxin's creative characteristics are that his eyes are almost always on the city, reality and youth; The theme of the film always faces life, showing a sense of mission and responsibility to society. The characters in the film are often ordinary people in life, and they are devoted to the analysis of their personality and psychology. Huang Jianxin's artistic technique is simple, down-to-earth, natural and calm, paying attention to life and realism, seeing the big from the small and seeing the strange from the flat. Calm humor and banter, which have existed since black cannon incident, have been running through all his works. His works form a landscape among the "fifth generation directors".