Asian Cinema And Media - Report Example

Name: Tutor: Course: Date: Asian cinema and media 1. During the historical period, which is also referred to as the new Chinese cinema i.e 1983 to the present, Zhang Yimou has been associated with the fifth generation filmmakers. The term fifth generation filmmakers was first used in 1984 by the critics of the Chinese film. It mainly described a group of urban intellectual directors who focused on exploration of style and content (Sheldo 105). Zhang widely uses visual imagery that redefines the Chinese politics in terms of identity and self. In the first decade of film production, Zhang mainly focused on the sexual power, the spectacle of the female body on the screens as well as reproductive continuity. Zhang applies allegory in his works. For example in his film red sorghum, Zhang narrates a legendary whereby the on the surface, the film seems to be depoliticized film which is not the case. The real sense is that the filmmaker is talking about the politics of sexuality, which is the ideology of the body (Sheldo 106). In the recent years, the style has changed and the use of various dialects in most of Chinese film has grown over the years. One reason for using the dialect is to create signature style or brand effect. For example, Jia Zhangke in his movie pickpocket has made use of the Fenyang dialect and his main character’s spoken language. This made the film to become so popular to an extent of becoming a trilogy (Sheldo 106). 2. In the early 1990s, there was emergence of Chinese independent filmmakers whose main focus was to document all the dramatic socio-economic changes that took place during the era of marketization. As Dai (78) indicates the films anchor pyschologican anxiety, moral confusion and socioeconomic unevenness that ordinary Chinese people experienced during 1990s. China was more involved in the world economy in this period. It can be argued that Chinese independent filmmaking is a conflict between the state and the filmmakers. Dai (79) points out that high percentage of the Chinese independent filmmakers works are political in nature. For example, the works of independent filmmakers such as JIa Zhangke tend to focus only on china backwardness and not success. Therefore, it is evident that it caters for the interest of the westerners. There are two crucial forces, which are behind the aforementioned phenomenon. First the Chinese independent filmmakers are perceived as the key counterpoint to discourse of nationalism and official ideology as well as heroism. However, on the other part, the Chinese independent filmmakers have received fame from the western media and international film festival circuit. This is mainly through the independent filmmaking to be perceived as an alternative state-run filmmaking system. It can be pointed out that the emergence and the popularity of the Chinese independent film particularly on international film festival circuit responds to specific post-cold war projects pertaining to western cultural needs. Therefore, drawing from the post-cold war politics, Chinese independent films are perceived as political in nature because they only cater for state ideology or orientalists needs. 3. Systematic features in Ann Hui film have underpinned and guaranteed continuous economic growth. This is a characteristic of the recent modernity of Hong Kong. Britain colonialism nurtured both unconsciously and consciously ways as well as modernity identification with western forms of institutional management and bureaucratic. Therefore, examining both Chinese and west traditions, Hui in her works visualizes the existing complex transaction of counter modernity and modernity. Through this, she develops the special features of Hong Kong cultural identity. She focuses on conflict and contest in her visual thematic and narratives. Hong Kong changes from being a refugee haven to a distinctive social system whereby the modern institutional management as well as Chinese values function hand in hand. Ann Hui production for RTHK was all subjected to censorship. For instance her movie the series below the Lion Rock was not released immediately because it criticized the bureaucracy and policy of the Housing Authority (Yiu-wai 39). Ann Hui draws her inspiration from the aesthetics of the western film-making whose audience was mainly young middle class. In the privation and poverty that existed in the early 1950s and 1960s, the main source of entertainment was Cantonese cinema. The films were representation of women subordination whereby mainly colonial rules and Chinese Patriarchy incapacitated women. Therefore, it is evident that the patriarchal control underpinned as well as integrated colonial, Chinese and capitalists cultures defined the individual woman. This contributed to rise of women’s movement in Hong Kong in early 1980s. One of the key aspects in the Hui’s is the manner in which women continue to be presented as subjects of patriarchal domination (Yiu-wai 41). 4. The Transnational film festival circuit is known to play an important role in pushing for globalization and recognition to filmmakers from other countries that don’t share the western culture and where the film industry hasn’t established a strong foundation (Darrel Williams, 2008). Transnational cinema has created an effective platform for local stories to be told to different audiences across the world. Film festivals often play a vital role in establishing and cementing cross-cultural cinema. It has always been a major challenge for filmmakers from third world countries to get acceptance in western film festivals simply because they fall under non-western cinemas. In most cases films origination from third world countries are considered to gain recognition with the help of western film and therefore they lack the sense of independence. For this reason, there is a rising number of filmmakers from different nationalities that consider themselves as transnational filmmakers in order not to limit their growth in the film industry (Darrel Williams, 2008). Another major factor in the impedes third world film makers from getting their works recognized is the notion that cinemas don’t make it to the historical books unless they have been recognized by the international media. Nationalistic films often suffer a shortfall of audiences due to expectations that these films will represent a certain national culture (David Desser, 2005). A perfect example of a well-known transnational filmmaker is Wong Kar-Wai an international filmmaker whose films have grown to attract international audiences. Having grown up in Hong Kong, Wong’s expertise in the film industry is unparalleled, through his abilities to create films, which are unique from the typical Asian films. Due to his film making abilities he has grown to create a brand name for himself, which has gained acceptance both in Hong Kong and in the international film industry (David 205). The growing Hong Kong film industry has thrived over the years and is considered a conducive environment for film making due to its recognition as a financial center. When it comes to production, distribution, and reception of Wong Kar-Wai’s films, the results are incredibly successful due to his trademark as a transnational filmmaker whose works have grown to captivate cross-cultural audiences. He has indeed earned himself numerous awards in film and his prowess remains unmatched (David 205). 5. The South Korean blockbuster industry has grown over the years to make a mark in the East Asian markets. In the late 90s a large percentage of Korean movies were exported to Japan. In order to penetrate the Chinese markets, the Korean film industry adopted a multinational approach of co-productions (Jinhee Choi, 2010). Part of their globalization strategy was to remove the Korean element in their films in order to gain acceptance in the Asian regions. A Korean wave known as Hallyu contributed to the spread of Korean blockbuster movies in East Asia. The Korean film industry was further promoted by a growing market size in the markets abroad. The industry borrowed ideas from Hollywood movies, the Korean films have upto date maintained their traditional production methods but have made tremendous changes in their structures, market size and marketing strategy. This move achieved impressive revenues between 2001 and 2007(Jinhee 31). Another major contribution to the spread of Korean block buster movies in parts of East Asia such as Japan was the increase in stardom and recognition of Korean actors. This led to the acceptance of Korean blockbuster movies in Japan, which saw a major substitution of failed Japanese films with Korean films. The cost issue also played a role in promoting Korean films in Japan since Korean blockbuster movies cost less compared to Hollywood films. After a few years of dominance in Japan, Korean films suffered a decrease in revenue due to existing competition from Hollywood films and the low prices of their films in Korea. Korea had to adopt a different strategy to promote their films; therefore, they moved their focus to China. Korea came up with global projects, which involved creating films in China with Chinese language and traditions, yet they had Korean origin. This move has contributed to the rapid growth of Korean blockbuster movies in East Asia (Jinhee 37). 6. There is a new method of documentary practice that can also be referred to as cinema emerging from below. This kind of documentary has emerged from various Asian countries such as Indonesia, Korea, Philippines, Malaysia and Taiwan. The mainstream documentaries in most cases serve the interest of the social dominant groups. In South Korea have adapted a new kind documentary, which is also called workers cinema or Minjung cinema. The film first appeared in the 1980s and it took part in the Minjung movement to fight to democracy of South Korea. The minjung cinema functioning as media activism represented the struggles and lives of the minjung people from the perspective of the position of the outsider or the minority. It is important to point out that Korean documentaries did not focus on the accuracy or what is referred to as objectivity of the documentary representation but with the existing social changes. In the 1980s, in India there was the cinema of resistance. Most of these documentaries aimed at giving voice to the voiceless in the society and highlighting aspects such as denials, oppressions and corruption (Chris 139). In the early 1900s, there was emergence of new Chinese documentary. This kind of Chinese film documentary focus on differentiating the existing classes based on current economic, political as well as social transformation. Therefore, there is similar concern just like in the case of India, South Korea and Taiwan that fight for the voiceless in the society (Chris 142). 7 In the early days, Benshi was used in Japanese cinema. Benshi was a silent film narrator and was responsible for providing vocal narration during the film. However, this changed with the emergence of studio. Space has been used in the studio production to illustrate the illusionistic effect. In the early Japanese film motion picture screen was not regarded as a window into space but rather as a flat two dimensional surface also known as a picture. This is contrary to the west whereby cinematic realism particularly in japan was a novel concept at this stage compared to western countries. It is also important to put into consideration the fact that Japanese industry has focused on mass production of films. Therefore, all films during this time followed similar procedure. These films target foreign markets and have an international outfit as opposed to the traditional Japanese films (Olivia 231). Furthermore, introduction of long shots during studio production also contributed to a more cinematic or theatrical experience, thus contributing to fascination and curiosity particularly among the viewers. From the Suzuki’s case study, it is evident that there have been dramatic changes as well as dynamic tension between innovation and standardization that mainly characterized the Japanese studio work particularly after the Second World War. Therefore, it is evident that cinematic practices as well as ideologies of the Japanese film sector have rapidly changed over the years. The emergence of the studio concept contributed to progression in film techniques, filmic language and cinema being accepted as a unique form of art (Olivia 232). Works cited Chris Berry, “The Documentary Production Process as a Counter-Public: Notes on an Inter-Asian Mode and the Example of Kim Dong-Won,” Inter-Asia Cultural Studies, 4:1 (2003), pp. 139-144. Dai Jinhua, “A Scene in the Fog: Reading the Sixth Generation Films” in Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua, ed. Jing Wang and Tani E. Barlow (London and New York: Verso, 2002), pp. 71-98.). David Desser, “Hong Kong Film and the New Cinephilia,” in Meaghan Morris, Siu-Leung Li and Stephan Chingkiu Chan (eds.), Hong Kong Connections: Transnational Imagination in Action Cinema (Hong Kong: Hong Kong University Press, 2005), pp. 205-222. Jinhee Choi, “Blockbusters, Korean Style” in Choi, The South Korean Film Renaissance – Local Hitmakers, Global Provocateurs (Connecticut: Wesleyan University Press, 2010), pp. 31-59. Olivia Khoo, “Tokyo Drifting: Toei Corporation’s The Drifting Avenger and the internationalization of the Australian western,” Studies in Australasian Cinema 4:3 (2010), pp. 231-241 Sheldon Hsiao-peng Lu, “National Cinema, Cultural Critique, Transnational Capital: the Films of Zhang Yimou,” in Lu (ed.), Transnational Chinese Cinemas: Identity, Nationhood, Gender (Honolulu: Hawai’i University Press, 1997), pp. 105-36. Yiu-wai Chu, “Who Am I? Postcolonial Hong Kong Cinema in the Age of Global Capitalism,” in Esther Cheung and Yiu-wai Chu, Between Home and World: A Reader in Hong Kong Cinema (Hong Kong: Oxford University Press, 2004), pp. 39-58. Read More

This is a characteristic of the recent modernity of Hong Kong. Britain colonialism nurtured both unconsciously and consciously ways as well as modernity identification with western forms of institutional management and bureaucratic. Therefore, examining both Chinese and west traditions, Hui in her works visualizes the existing complex transaction of counter modernity and modernity. Through this, she develops the special features of Hong Kong cultural identity. She focuses on conflict and contest in her visual thematic and narratives.

Hong Kong changes from being a refugee haven to a distinctive social system whereby the modern institutional management as well as Chinese values function hand in hand. Ann Hui production for RTHK was all subjected to censorship. For instance her movie the series below the Lion Rock was not released immediately because it criticized the bureaucracy and policy of the Housing Authority (Yiu-wai 39). Ann Hui draws her inspiration from the aesthetics of the western film-making whose audience was mainly young middle class.

In the privation and poverty that existed in the early 1950s and 1960s, the main source of entertainment was Cantonese cinema. The films were representation of women subordination whereby mainly colonial rules and Chinese Patriarchy incapacitated women. Therefore, it is evident that the patriarchal control underpinned as well as integrated colonial, Chinese and capitalists cultures defined the individual woman. This contributed to rise of women’s movement in Hong Kong in early 1980s. One of the key aspects in the Hui’s is the manner in which women continue to be presented as subjects of patriarchal domination (Yiu-wai 41). 4. The Transnational film festival circuit is known to play an important role in pushing for globalization and recognition to filmmakers from other countries that don’t share the western culture and where the film industry hasn’t established a strong foundation (Darrel Williams, 2008).

Transnational cinema has created an effective platform for local stories to be told to different audiences across the world. Film festivals often play a vital role in establishing and cementing cross-cultural cinema. It has always been a major challenge for filmmakers from third world countries to get acceptance in western film festivals simply because they fall under non-western cinemas. In most cases films origination from third world countries are considered to gain recognition with the help of western film and therefore they lack the sense of independence.

For this reason, there is a rising number of filmmakers from different nationalities that consider themselves as transnational filmmakers in order not to limit their growth in the film industry (Darrel Williams, 2008). Another major factor in the impedes third world film makers from getting their works recognized is the notion that cinemas don’t make it to the historical books unless they have been recognized by the international media. Nationalistic films often suffer a shortfall of audiences due to expectations that these films will represent a certain national culture (David Desser, 2005).

A perfect example of a well-known transnational filmmaker is Wong Kar-Wai an international filmmaker whose films have grown to attract international audiences. Having grown up in Hong Kong, Wong’s expertise in the film industry is unparalleled, through his abilities to create films, which are unique from the typical Asian films. Due to his film making abilities he has grown to create a brand name for himself, which has gained acceptance both in Hong Kong and in the international film industry (David 205).

The growing Hong Kong film industry has thrived over the years and is considered a conducive environment for film making due to its recognition as a financial center. When it comes to production, distribution, and reception of Wong Kar-Wai’s films, the results are incredibly successful due to his trademark as a transnational filmmaker whose works have grown to captivate cross-cultural audiences.

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