world film history ii asia

7/28/2019 World Film History II Asia

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World Film History

Asia

North Africa


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Japan after the war Number of cinemas in operation: 1940: 2500, 1945: 850,

1956: 2500

Censorship during the occupation banning the idealization offeudalism, imperialism and militarism; encouragement offilms praising peace and democracy

225 jidaigeki (period drama) films are ordered to bedestroyed, 40 leaders of film industry imprisoned for warcrimes (freed in 1956)

Distribution of American films have a major impact on young

filmmakers

Godzilla (1954) and other monster films emerge as a majorpopular genre

Independent critical film production begins to emerge


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Major Japanese films TADASHI IMAI: Okinawas Lilies (1953)

KON ICHIKAWA: Burmese Harp (1956),An Actors Revenge(1963) AKIRA KUROSAWA: Rashomon (1950), The Idiot, (1951), The

Seven Samurai(1957) KENJI MIZOGUCHI: Diary of Oharu (1952), Tales of Ugetsu

(1953) YASUJIRO OZU: Tokio Story(1953), Early Spring (1956), Late

Autumn (1956),An Autumn Afternoon (1962) MASAKI KOBAYASHI: Barefoot through Hell (1959), Seppuku

(1962), Kwaidan (1964) NAGISA OSHIMA: Cruel Story of Youth

(1960), Death by Hanging (1968), The Realm of the Senses(1976)


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Other popular Japanese genres

Yakuza, a very violent gangster genre emergestoward the end of 1960s

pink films or soft-core pornography,sometimes with a touch of cinematic avantgarde as in Tetsuji takechis Hakujitsu mu andKokeimu (both in 1964) function as a trainingground for aspiring filmmakers

Anime tradition reaching back to 1917 -gains tremendous popularity first at home inthe 1960s and abroad in the 1980s


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India DHUNDIRAJ GOVIND PHALKE: Raja Harischandra (1913)

P.C. BARUA: Devdas (1935), Mukti(1937)

V. DAMLEM & S. FATEHLAL: Sant Tukaram (1936)

K.A: ABBAS: Dharti Ke Lal(1946)

RAJ KAPOOR:Awara (1951), Shri 420 (1955) SATYAJIT RAY: Pathe Panchali(1955),Apajarito (1957),

Parash Pathar(1958)

BIMAL ROY: Do Bigha Zameen (1953)

MRINAL SEN: Bhuvan Some (1969), Interview(1971),Calcutta 71 (1972)


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Nargis and Raj Kapoor


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Nargis and Raj Kapoor inAwaara.


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Indian cinema has been inspired by

Ramayana and Mahabharata Classical indian theatre

Popular theatre (partly derived from classical

theatre) 19th century Parsi theatre

Hollywood

MTV

K. Moti Gokulsingi &Wimal Dissanayake


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Contemporary Indian Cinema

PRAKASH JHA: The Death Sentence: MrityuDand(1997)

ANESS BAZMEE: Pyaar To Hona Hi Tha (1998)

SANJAY LEELA BHANSALI: Devdas (2003)

MIRA NAIR: Monsoon Wedding (2004)


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Chinese cinema HUI XI (producer): Wronged Ghosts of an Opium Den (1916?)

MINGXING (production company): Romance of Fruit Pedlar(1922) JUNLI ZHENG: A Spring River Flows East(1947)

SUN YUN: The Life of Wu Xun (1950)

WU TIANMING: Life (1984)

LU XIAOYA: Girl in Red(1985)

CHEN BEICHEN: Under the Bridge (1984)

ZHANG JUNZHOA: One and Eight(1984)

CHEN KAIGE: Yellow Earth (1985), The Big Parade (1987), King of theChildren (1988), Farewell, my Concubine (1993)

ZHANG YIMOU: Red Shorghum (1988),Ju dou (1990), Rise the RedLantern (1991)


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Peoples Republic of China, 1 Film industry is nationalized and collectivized in 1949. New

studios and the Beijing Film School are established.

Socialist Realism is the main guideline in 1953-65.

During the policy of hundreds of flowers in 1957 social

criticism is allowed.

The following year the great leap forward that is taking

place becomes the mandatory topic of films. Earlier films arecondemned because they convey a false image of the Chinese

worker, peasant and soldier.

In 1964 many directors are accused of reformism and theirfilms are labeled as poisonous weeds.


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Peoples Republic of China, 2

During the Cultural Revolution beginning in 1966 filmmakersare sent to do agricultural work and to be re-educated

Nearly all films made before 1949 are destroyed as being

contrary to the ideas of socialism and the party Film production is almost completely disrupted and continues

only in 1970 on mainly amateur basis

Ten revolutionary operas are made under the supervision of

Maos widow


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Peoples Republic of China, 3

The new boom beginning in 1972 allowed for taking somedistance from traditional revolutionary realism

Under the leadership of Deng Xiaopingin in 1978 a relativelyliberal period begun. Officially class struggle remained the

main guideline

From the middle of 1980s the so called fifth generation beganto make films more centered on the individual to explorecinematic means.

After the Tienamen affair in1989 the sixth generation beganmaking critical small budget films while some of the oldermaster began making historical spectacles


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Hong Kong film industry Strong Canton language film production in the 1930s

During the war production is almost complete closed as filmmakers refused to colalborate with the Japanese

After the war film makers arriving from Shanghai begin theproduction of Mandarin language films

Both left- and right-wing films are made

Kanton film is mainly mass entertainmenr mainly for domesticaudiences this almost completely dies away in the 1970s

Mandarin cinema is more quality conscious with a diasporicaudience spread over various parts of Asia

Kung fu cinema: Bruce Lee and Jackie Chan


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Hong Kong films

ZHANG CHEN: One-Armed Swords-man (1967) WEI LO: First Fury(1972)

TSUI HARK:All the Wrong Clues (for the RightSolution) (1981)

JOHN WOO: A Better Tomorrow(1986), Hard Boiled(1992)

WONG KAR WAI: Chungking Express (1994), Happy

Together(1997), In the Mood for Love (2000), 2046(2004)


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Taiwan

Film production truly begins only in the the 1950s Films in Taiwanese and about local topics, stories and history,

often inspired by stage traditions

Co-productions with Hong Kong and Japanese producers

use of Mandarin A commercial studio system emerges in a big way in the 1960s

State control in the 1960s:healthy realism

Art-house cinema of the highest standards beginning in the

1980s. Films made also in Taiwanese


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Taiwanese films:

KING HU: Touch of Zen (1971) HOU HSIAO-HSIEN: A Time to Live and a Time to Die

(1985) City of Sadness (1989), Puppet Master(1993),Three Times (2006)

EDWARD YANG: The Terrorizers (1986),A One and aTwo (2000)

TSAI MING LIAN: The Hole (2000)

ANG LEE: Eat Drink Man Woman (1994), CrouchingTiger, Hidden Dragon (2000)


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South Korea A great number of films made in the 1950s and 60s

Censorship particularly regarding political topics could beharsh and arbitrary

Political and art-house films in the 1980s

Opening of the market for foreign films in 1985 is at first amajor setback for domestic film industry

Action films, spectacles and their combinations in the 1990s

The state, film industry and business life reorganize the

funding, production and training in1993 South Korean entertainment industry becomes very popular

in many Asian countries


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New South Korean Cinema

JE-GYU KANG: Shiri(1999)

CHAN-WOOK PARK:Joint Security Area (2000)

KIM KI-DUK: The Birdcage Inn (1998), The Isle(2000), Spring, Summer, Fall, Winter... and Spring(2003), 3-iron (2004)


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North Korean cinema The biggest estimates of the volume range from 15-80/annum in some

years possibly only 1-2. Authors were to be engineers of the human soul, not mirrors to its

infinite variety and capacity for individuality.

Artist were to help in creating a people faithful to the Great Leader anddedicated to his view of revolution.

Topics centred on resistance to the Japanese invaders, the horrors of theKorean War, the continuing suffering of the people under American-oppressed rule, the inevitability of reunification under the appropriatelyproper regime.

writers and performers must have a firm understanding of the role of

class in the characterization of our enemies in order to depict clearly theirreactionary nature and their vulnerability. Our enemies must be portrayedaccurately.

Pratt, Keith: Everlasting FlowerA History of Korea


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Cinema in the Arab World, 1 Social and religious attitudes inhibit the acceptance

of cinema Two distinct tiers: luxurious air-conditioned cinemas

for the wealthy and small squalid cinemas for the

poor even today Domestic production develops very slowly and is

heavily genre-bound

Egyptian cinema emerges first and becomes almost

synonymous with Arab cinema

Sound enlarges the audience, musicals emerge as aparticularly popular genre


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Cinema in the Arab World, 2 Though cinema is very popular in Lebanon, there is very little

production before the 1950s No production in Iraq or Syria before 1945, first feature film in

Iraq in 1977 and then some investment on epic superproductions

Governments have not subsidized production but have ratherseen it as a source of revenue

Until fairly recently only Egypt has had some art-houseproduction the only Arab country which ahs a film school

Nationalizing of Egyptian film production in 1961is disastrousbut give the other Arab countries a chance


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Cinema in The Maghreb By 1950s all together some 200 colonial films made by

Europeans only 9 feature films by native directors

New national cinemas emerge in the 1960s under fairly rigidstate control

In the 1960s and 70s the films typically depict nationalstruggles

Independent socially critical production with considerableFrench influence emerges in the 1980s distribution mainlythrough festivals and television channels.

Films probably reach bigger European than domesticaudiences


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Cinema in the Arab world - beginnings

Tunisia ALBERT SHAMAMA [CHIKLY]:Zahra (1922),Ain al-Gheza

(1922)Egypt

MOHAMED BAYOMI:Al bash kateb (1922) ISTRAPHANE ROSTI & WEDAD ORFI: Laila (1927) IBRAHAM LAMA: Qubla fil-Sahara (1927) MARIO VOLPI:Anshudat al-fuad(1932)Lebanon

JULIO DE BUCCI & KARIM BUSTANY: Bayn hayekelBaalbek(1935)


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Modern Arab CinemaEgypt

YOUSSEF CHAHINE: Bad el hadid(1958),Al-nasir Salah al-din (1963),Al-usfur(1973),Al-massir(1998)

Lebanon

HEINY SROUR: Kafr Kassem (1974), Beirut al-liqa (1982)

Leila wal-dhiab (1984) ZIAD DOUEINI: West Beyrouth 1998Iraq

SHUKRY JAMIL: Al-masala al kubra, (1983)

Tunis FERID BOUGHEDIR: Halfaouine (1990), Un t La Goulette

/ Halk-el-wad(1995) MOUFIDA TLATLIN: Samt el qusur(1994), La Saison des

hommes (2000)


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Iranian cinema, 1 Domestic production at first only actualities and

documentaries only for the Shah family and the upper class

First fiction film in 1930

Heavy censorship gives domestic production a slightadvantage

Poor economic and technical infrastructure curtailsproduction

Religious taboos inhibit cinema going, particularly amongwomen

American cinema and television consolidates its position inthe 1950s

Shah Reza Pahlavi tightens control of cinema


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Iranian cinema, 2 Maintaining socially critical independent production is made

difficult particularly when winning acclaim abroad Most people prefer Egyptian and Indian musicals and

melodramas, or action films with tough guys fighting for Iranagainst Western influences

Islamic revolution condemns cinema as a supporter of the Shahand colonialism some 180 cinemas destroyed and more than

90 % of films made in Iran are banned refugee cinema

Since 1980s has developed well despite restrictions socialcriticism allowed, but not that of religious matters

While directors may be imprisoned, Iranian cinema is hailedabroad as one of the world's most important artistic cinemas.


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Iran AVANES OHANIAN:Abi va Rabi(1930)

ARDESHIR IRANI: Dokhtar-e Lor(1933) ESMAIL KUSHAN: Tufan-e zendegi(1948)

MOHSEN MAKHMALBAF: Gabbeh (1996) Sokout(1998)

ABBAS KIAROSTAMI: Khane-ye doust kodjast?(1987),Zendegi va digar(1992), Ta'm e guilass (1997)

JAFAR PANAHI: Dayereh (2000), Offside (2006)

ASHGHAR FARHADI:Jodaeiye Nader az Simin (2011, first

Iranian film to win an academy award))


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New Cinemas in Latin America

Brazil

NELSON PEREIRA DOS SANTOS: Vidas secas (1963), Oamuleto de Ogum (1974)

CARLOS DIEGUES: Ganga Zumba (1963) GLAUBER ROCHA:Antonio das Mortes (1969)

Cuba

TOMS GUITIRREZ ALEA: Memorias del susbdesarollo(1968), Muerte de un burocrate (1966), La ltima cena(1976)

world film history ii asia

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