China film history

In the 100-year history of China movies, movies in the new period occupy a prominent position, not only because it takes up one-fifth of the time, but also the longest time in each period; And because of its distinctive features and outstanding personality, it is the most brilliant!

From1June 1976 to1February 1978, the Third Plenary Session of the Eleventh Central Committee of the China Producer Party was held, which was a very short contradictory period in the history of the Republic. During this period, in addition to exposing and criticizing the cultural absolutism of the Gang of Four, the film industry mainly did two things: first, it resumed the release of films labeled as "poisonous weeds" by the Gang of Four in the seventeen years after the founding of the People's Republic of China; Second, organize film creation around the theme of the struggle against the Gang of Four. In these two aspects, many achievements have been made: (1) The re-released film was warmly welcomed by the audience; The creators of these films have also gained corresponding spiritual liberation. At the same time, more than 50 feature films have been produced, especially the remakes of Yin Cheng, Xie Tieli, Xie Jin and other directors who have made achievements in the "seventeen years", showing a certain creative vitality. But on the whole, people's minds were not very liberated at that time, and they still had some scruples in creation and thinking. The convening of the Third Plenary Session of the Eleventh Central Committee marks the beginning of a new era of reform, opening up and modernization, and marks a new era in the history of China people. This has a great impact on China and even the world. At the beginning of this period with the ideological emancipation movement as the forerunner, the people's spirits are uplifted, their mood is comfortable and their spirits are high. It brings the spring of science and culture, the spring of literature and art, and the spring of movies.

From then until now, after 20 years' development, China film art, like other literary arts and the development of the whole China society, has gone through an uneven road, but it is an upward one. In this process, we have encountered unprecedented difficulties and challenges, and also experienced some twists and turns-this is inevitable in any society in great change. However, with the joint efforts of the party, the government and all filmmakers, great and remarkable achievements have been made. Of course, there are also shortcomings and deficiencies.

After the Third Plenary Session of the Eleventh Central Committee, the film industry was more active than before, and its enthusiasm was greatly mobilized. People take summing up the historical experience and emancipating the mind of films after the founding of the People's Republic of China as a breakthrough, and constantly explore new ideas of film creation and theory. Movies and people who create them are social phenomena, not just individual behaviors. In this case, as a social person, the views of filmmakers cannot be completely consistent, and there must be differences, contradictions, differences and struggles. 1At the Fourth Literature Congress held in June, 979, Comrade Deng Xiaoping reiterated in his congratulatory message: "Adhere to the direction put forward by Comrade Mao Zedong that literature and art should first serve the broadest masses of people, workers, peasants and soldiers, adhere to the policy of letting a hundred flowers blossom, bringing forth the new, making foreign things serve China and making the past serve the present, and advocate the free development of artistic creation in different forms and styles and different artistic theories. At the same time, it is pointed out that "what to write and how to write can only be explored and gradually solved by artists in artistic practice." "In this respect, don't interfere." These, as well as other contents in the congratulatory message, are conducive to unifying filmmakers' thoughts and guiding the healthy development of film work. Since then, both film art creation and academic theory have begun bold innovation and exploration.

In academic theory, in the following years, People's Daily held a discussion on "How to improve film works" in the spring of 1979, and then the film art discussed "the modernization of film language". The film art thought is unprecedentedly active, and generally speaking, it is free. Discussion on the relationship between film and drama, literature, film aesthetics and film essence, film nationalization, film innovation and publicity of documentary aesthetics, translation and introduction of western traditional film theory and modern film theory, such as montage theory, long lens theory, structuralist semiotics, feminism, text analysis, prototype criticism and other modern and post-modern theories, as well as China traditional film theory and aesthetics. They have influenced the creation in different degrees, especially promoted the film creators to pay attention to the film theory and even the whole cultural theory. Various film exhibitions and retrospective exhibitions, various awards and film festivals, as well as the going out and invitation of film creation and theoretical circles, have greatly increased film exchanges at home and abroad and broadened filmmakers' horizons. At the same time, the introduction, screening and co-production of foreign films from Taiwan Province and Hongkong have also increased the opportunities for reference. All these artistic phenomena and related conditions constitute a major feature of films in the new period. There is indeed a big difference between the development of films with academic atmosphere and those without academic atmosphere.

It should be pointed out that it is not necessary and impossible to make a scientific judgment on who is right or wrong in these discussions and debates on film art. Because it needs historical proof and practical test. But what is certain is that they are all conducive to the progress of China's films and the development of film science itself; It has well realized the free discussion of different academic viewpoints and created a relaxed academic environment. Since the new era, the achievements of film theory and criticism, as well as their papers, monographs and collections, have made China film academic garden full of vitality.

Keeping pace with the unprecedented active academic theory is the prosperity of creation. 1979, the first year of reform and development, the film creation achieved remarkable results. This year * * * produced 63 feature films (including stage art films, the same below). "From slave to general, tears streaming down her face, Ji Hongchang, anxious to return, ah! Cradle, distressed laughter, floret, gunshot wound of secret service, vibrato of life, KINOMOTO SAKURA, and Ole? Yilan, Heart of Suffering, Overseas Pure Son, Holy Mission, Beidou, Erquan Yingyue, Li Siguang, Guide, look at this family, the younger generation, them and them, this feature film won 65438+ from the Ministry of Culture. If we analyze this list a little, it is not difficult to further find that it not only has rich themes, such as history and revolutionary history, exposing the crimes of the Gang of Four, the four modernizations, children, overseas Chinese stories, Chinese-foreign friendship and the fate of folk artists, but also has various styles, such as drama, tragedy, comedy, biography and adventure. From the perspective of creative personnel, there are both directors and directors who have made great achievements or have certain creative experience in the "seventeen years" after the founding of the People's Republic of China. In the creation of the former directors, people have become accustomed to calling them the "third generation". They strive for the authenticity and typicality of art, the perfect unity of form and content as far as possible, strive to write their own artistic personality and style, and pursue the return of realism. Movies of historical figures with the same theme, "From Slave to General" is urgent and dignified, and "Ji Hongchang" is bold and radical;