The films are gut-wrenching survival dramas in which the protagonists struggle amidst the political chaos of various political campaigns, offering reflection and emotional insight into the troublesome eras. а Гомруль - И. In a particularly chilling scene, she visits Lao Gu, first making accusations of his making illegal rice transactions that would condemn Hu but ring untrue at his poverty, and subsequently accusing him of receiving sexual benefits, an attempt that falls flat at the revelation his war wound-imposed impotence. In Hibiscus Town, the arbitrariness of the persecution Cultural Revolution first appears when Li Guoxiang arrives in 1963 to supervise the village’s renewed class struggle. Defined through their status as the first post-Cultural Revolution graduates from Beijing Film Academy in 1982, the “Fifth Generation” was primarily composed of filmmakers who were born after the 1949 founding of the People’s Republic of China, and came of age during the Cultural Revolution, often serving as Red Guards or “Sent Down Youth.”  Often gathering international attention and financial success, their works often reacted against the propagandistic purity of film in the Cultural Revolution by weaving together complex narratives that allowed for interpretation. To Live likewise presents a gut-wrenching narrative that questions the seemingly arbitrary nature of the Mao-era. 207. As Tietou lies bloody on the ground and looks up after having lost his mother to the Red Guards, the torn and shredded blue kite hangs in the tree as the film’s final shot and the audience knows Tietou spirit had been crushed: a new one will never be built. The film, which won Best film at the 1987 domestic Golden Rooster Awards and Hundred Flowers Awards, represents both the works of the older generations in the genre and the scar film at its height of domestic official support. Thank you so so much!” –Minli, “Your materials help me for all my Chinese classes. The final “Stepfather” section plants a teenaged Tietou into a life of luxury, when his mother marries a wealth man to secure their wellbeing. Of course in an earlier scene, Fugui tells his son the same thing, saying final stage of growth was “socialism;” instead, he tells his grandson that after the oxen, “You will grow up.” The ending is not without its hope, yet an adult weariness and realism have set in. ( Log Out /  By and large the dominant feature of Chinese “scar cinema” is a deep sense of human survival in the face of the arbitrariness or measured insanity of the repeated political movements that wreaked incredible suffering across China for the greater part of three decades. In The Blue Kite, the Hundred Flowers and Anti-Rightest Rectification Campaigns, the Great Leap Forward, and the Cultural Revolution are portrayed alongside the maturation story of a young boy, nicknamed Tietou or “Iron Headed,” which ends with him having lost three father figures and his mother due to the political campaigns. Often traversing the revolutionary decades through the narrative of one individual or family, the films inject an intensely personal element to the time period, challenging the political movements and their harrowing consequences with tales that highlight the shared humanity of all involved. Редмонд и др. I dare not think of it.”  The section ends with a heartwarming scene, mother and grandmother laugh as the infant Tietou pretends to read an envelope; it should come to no surprise that the boy’s narration over the scene would tell of his father’s death. Film: Hibiscus Town (1986) | Chinese Movie Database. In particular, the scene in which Qin insists that a three-beat sweeping motion to the tune of a waltz is the proper street cleaning technique and the covert romance, which included the first on-screen kiss following Mao’s death, assert a sense of resiliency of the human spirit, allowing love or joy to be found in challenging times. Download to watch Offline. 天浴 Xiu Xiu: The Sent-Down Girl/The Sent-Down Girl(1998), Xin Longmen Kezhan《新龙门客栈》/ another source: https://youtu.be/TPlhD67TJ8w, 最佳电影 2015 – 喜剧电影- 情感电影 2015 愛情最好的2015 (in both English and Chinese), 胡一天 “倩女幽魂” 手游微电影” Hu Yi Tian “Chinese Ghost Story” Video Game Short Film, 昨天的爱 Yesterday’s Love (Chinese Short Film), 17 Best Classics to Learn Chinese From Movies – FluentU. Wherever you are. Mandarin with English subtitles. Dir. 6. 2010. From new directors to award-winners. Later labeled as a reactionary and as “walking the capitalist road” during the Cultural Revolution, Chunsheng makes a late night visit to attempt to clear his debt with Fugui and Jiazhen by offering access to a bank account before killing himself just as his wife has done, saying “I don’t want to live anymore” to which Fugui replies “You just have to.”  The scene reaches its emotional peak when Jiazhen, who has refused to see Chunsheng since the child’s death, storms out of the home to see him as he leaves yelling “You still owe us a life… value yours.” In doing so, she does not forgive him of his immense sense debt and wrongdoing, but instead uses the family’s greatest tragedy, to that point of the film, and his sense of debt to assert a shared human value and save his life–  Chungsheng’s continued living is equated in value to the immeasurable value lost in her son’s death. The second and third portions of the film, entitled “Uncle” and “Stepfather” respectively, continue to meet every joyous occasion with severe loss. “Your website is excellent! As a wandering shadow puppeteer and opera singer, Fugui gets caught up in both sides of the war; the soldiers’ seeming indifference to which side they fight for is contrasted sharply with scenes of frozen and bloodied bodies. Upon returning home to an impoverished wife and children, Fugui witnesses the public struggle session against the man to whom he lost his home admits the land reform, and wets himself upon hearing five gunshots ring out across the town, realizing that could have been him. An small old town which is not so crowed. Tian Zhuangzhuang. Change ), You are commenting using your Twitter account. As the film moves into the Great Leap Forward period, the kind village chief comes to collect scraps of iron for the steel smelting campaign. To Live (Chinese with English subtitles). As a teenager, Tietou mirrors the father he never remembered, bonding with his step-niece over the flying of a kite, and offering to build her a new one when it is lost. I am so happy that I found this site. The first is Hibiscus Town, a 1986 film directed by Xie Jin, a successful “Third Generation” director whose earlier propaganda films included the 1961 The Detachment of Red Women, which would later be developed into the famous ballet and become one of the seminal cultural works of Mao-era China. Dir. Thanks for the new post! The second two films, Tian Zhuangzhuang’s 1993 The Blue Kite and Zhang Yimou’s 1994 To Live, present the Fifth Generation scar film at its height, portraying epic narratives that follow characters through the decades of turmoil that defined the directors’ youths. 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