1. By :Ng Jian Xiang
Class:DIP-ANN3B
Tel: 91256896
Email:sionhuang@live.com

2. • Abstract
• Introduction
• The Cultural movements of Chinese
Filmmakers in the 1950s and 1960s
• Film genres 1950s-1960s
• Evaluation and discussion of the
Chinese film industry

3. Abstract
China is one of the oldest continuous civilizations as film is the
most modern type of art in china.Untii the rise of television in the
1980s,Film was the major medium of mass communication in the
People’s Republic, and it remains of exceptional importance.
However, there has been no full-length scholarly study of film in
china after 1949, despite the significance of the subject. The
presumption seems to be that, in such a politicized culture, film
has been simply a political tool in the hands of politicians. In this
view there is much little to learn from the Chinese filmmaking after
1949.
As early as that early Chinese cinema and film was a soft of
attraction that is “purely narrative modes” as it is usually viewed in
places like teahouses,markets,parks and theatres as there is a
variety of traditional performances such as acrobatics, opera, Peep
Shows as threes similarities appears between early Western and
Chinese cinemas that in fact American films have long merged well
with the Chinese market in the first half of the twentieth century
Chinese film makers and their movement
How film affected china’s politics
Comparing Films from the past and now plus their
movements

4. Introduction
The Chinese cultural history since 1949, and filmmaking as a major
part of the history, has been dominated by three themes
•The expansion of mass national culture
•Relations among party, artist and audiences
•Tensions Between Yan’an and Shanghai
During the the day of October 1949 as the leader of the
communist party stood in Tian An Men Square in Beijing
they Proclaimed their political leadership over the whole
Chinese civilization, they went as little further then claiming
leadership and culture as well. Being able to be the rulers of
China leadership is more then just political responsibilities, as
the Chinese communist party Believes that to successfully
controlling China, they should take up the revolution even
further and reshape the culture of the nation.
Yet transforming the Chinese cultural is just as difficult as
the political war. As the nation as well the culture is riven by
different divisions between regions, Ethnic
groups,classes,languages and the level of development. But a
invention of the twentieth century film, helped the leaders to
overcome ancient civilization to a new age.
Film was the most popular Element in the new mass
culture as with this media’s potential it can reach the
widest possible audiences. Moreover film is more readily
controllable by the Communist Party censorship. But film
was also one of the newest cultural media in China .It was
closely associated with social and geographical element
that helps shaping the leaders views of their political and
cultural responsibilities with aid of experienced film-
makers
On May 4,1919 against the allocation of former German
held Chinese territory to Japan in the Treaty of Versailles
as May Fourth was one of the most distinctive
components of the modern Shanghai Centred, cultural
heritage. As before 1949 most of Chinese filmmakers
were part of this cultural strain. They had little exposure
to more remote part of China

5. The Cultural movements of Chinese
Filmmakers in the 1950s and 1960s
•Most of the Members of the Film Group was in the subdivision
of the League of Left Wing Writers during the period before the
war of resistance to Japan(1937-1945)
•Most of the Prominent Filmmakers in the 1950s and 1960s
started working in the film industry Before 1949 most of them
are not under the influence of the Communist Party
•Some of their background mostly Lower middle class(Petit-
Bourgeois) intellectuals and outlooks were shaped by the May
Fourth Movement
•The late 1950s Yan’an had won over Shanghai’s national culture
as the cultural authorities increasingly acknowledged both the
May Fourth literary traditions and the more ancient popular
cultural traditions.
Two themes of the film were formed in the nine years
•The Developing tripartite relationship among the
Communist, artist , and the audience
•The move towards the signification of film
The Life of Wu Xun1950
This the film directed at 1950 Directed by Sun Yu Starring Zhao
Dan.
It is a black and white film Produced by the Kunlun Studios

6. •Film was a major part of a new mass national culture movement
that emerged by the early 1960s.
•This culture was the work of a range of actors that is not simply the
demands of national authorities.
•Two characteristics of the twentieth century mass culture are
noteworthy which are it’s homogenized, nationwide character and
it’s supraclass relevance.
•Film as a medium and an art was more ideal means to disseminate
the mass culture, as medium, it has more immediate appeal than the
printed page or radio. As and art it is less open to local abuse by
distributors than stage art which is by local drama or opera troupes
Mass culture and the expansion of the film
industry
Letter with Feather1954
Battle on Shangganling
Mountain1956
a 1954 Chinese film directed
by Shi Hui and written by the
playwright and
filmmaker, Zhang Junxiang.
A war film that was targeted
at children.
Battle
on Shangganling Mount
ain is a 1956 Chinese war
film. It is also known
as Shangganling Battle.

7. ANewStarttothemasscultureand
expansionoffilmindustry
•New Studios Set up on suburban rural site of
Guangzhou city1957-1960
•More audiences during nine years after 1956
•New Filmmakers
•New Styles and subjects
•The politics of Filmmaking
Woman Basketball Player No. 5
1957 Chinese film
presented by Tian Ma
Film Studio and
directed by Xie
Jin, starring Qin
Yi, Liu Qiong, Cao
Qiwei and Wang Qi.
It is the first colored
sports movie filmed
after the formation of
the People's Republic
of China, and also the
first film directed by
renowned film
director Xie Jin

8. Filmgenres1950s-1960s
Three kinds of Stylistic features
•Typical characters and events from the sixteenth, nineteenth or
twentieth centuries
•This feature owed much to the first feature as it present typical type
of heroes, heroines and their environments with a striking degree of
glossiness and glamour
•The third type feature is emphasis placed by both the artist and
bureaucrats on the writer of the film and scripting contrast to the
importance according to the director partial cause was the probably
of censorship system, as unwanted element could be weeded out
from the written script before money was invested into it
•The minorities films: serfs and smiles:
Han chinese,Mongols,Tibetans,Uighurs,Miao,Yi,Zhuang,Bai,
Koreans,Manchus,Muslims.
•The Revolution: Proletarian nobility
films about the revolution which ended with the Communist Party
victory in 1949
•Contemporary subjects: Cheerful types
Films made between 1956-1964 dealing with contemporary Chinese
life shared some of the characteristic of the other genres
•Musical Films: Nationalized Style
Musical films which included adaptations of traditional opera, dance
drams and musicals
•May Fourth Adaptation: Remembrance of times past

9. Discussionaboutthe PresentationTopic
With the evolution of Chinese films
genres why Martial arts films only
flourished in the 1920s and 1930s but
was missing in the major part of the
film industry from 1940s-1950s?

10. Summary
•Chinese’s film movement leads to the revolution of Chinese cultural
history
•With the understanding of Chinese cultural evolution from different
genres of films shows how their culture is establish with the
influence of others
•Politics have a major rule over the film industry as it aid them over
the rule of the Chinese through Politics and cultural issues
•Film for the Chinese filmmakers not just applies to the Chinese
majority race it also applies to the minority races
•Chinese films had a wide variety of choices after 1956-1964

11. •Paul Clark, CHINESE CINEMA Culture and Politics since 1949,United States of America, Press Syndicate of
the University of Cambridge,1987
•Barry Keith Gran, Film Genre From Iconography to Idealogy,Great Britain, Wallflower Press,2007
•Sheldon H.Lu& Emilie Yueh-Yu Yeh, Chinese Language Film Historiography,Peotics,Politics United States
of America, University of Hawai’i Press, 2005