Search Results for: "Chen Kaige"

This article examines the representation of history in ‘Fifth’ and ‘Sixth’ generation Chinese cinema, in particular that of Zhang Yimou’s To Live and Chen Kaige’s Farewell My Concubine in contradistinction to Jiang Wen’s In the Heat of the Sun and Jia Zhangke’s Platform.

After the zero-Covid policy lockdown pushed the previous edition of Pingyao International Film Festival to January 2023, Jia Zhangke and the festival team faced the challenge of organising two festivals in one ...

Over the past several years, San Sebastian IFF has slowly become one of the major European platforms for showcasing Asian Cinema. Priority might be given to Spanish language or Latin Cinema, but the shift towar...

With the Reform and Opening Up of the late 1980s, China saw an increase in the visibility of queer representation. Chinese queer cinema in the early 1990s created unique cinematic aesthetics through these groun...

How does it feel to return to the cinema? I asked myself this question as my plane taxied on the runway at Nice airport one fine July morning, the shimmering waters of the Mediterranean to my right, the hilly l...

When Mao died in 1976, the Great Proletarian Chinese Cultural Revolution drew to a close and a paralysed film industry began to function again. For a few years, the state allowed films like Kunao ren de Xiao (T...

On 31 December 2018, the fundraising arm of the Toronto International Film Festival sent a year-end email solicitation, urging recipients to support cinema by helping the organisation hit its annual target of 3...

Listen. If you listen closely, intensely, you will hear the sounds of loneliness scoring the most profound encounters found on our screens and in their relatable, traceable senses. Sounding loneliness is ...

Feature image: ticket booth at the 2013 Yamagata International Documentary Film Festival. This is not an article that seeks to survey the Asian documentary festival scene comprehensively or with neat generalis...

When Wu Tianming died in March 2014, commentators around the world were aware that a page of Chinese film history had definitely been turned. Born in 1939, Wu had to wait, like many people of his generation, fo...

It may be hard for contemporary audiences, even in China, to comprehend why Cheng Kaige’s Yellow Earth (Huang tudi, 1984) made such a mark on the development of Chinese cinema. The film is a curious hybrid of h...

The first three films directed by Zhang Yimou form a trilogy linked by their early twentieth century, pre-Communist settings, themes around social constraint versus personal desire, lavish visual style, and the...

A starkly hypnotic portrait of life in the Tibetan mountains, The Horse Thief (Dao ma zei) is the resplendent centrepiece in Tian Zhuangzhuang’s loose trilogy on the subject of ethnic minorities that began with...

Author Jiwei Xiao analyses the aesthetics and the theme of memory that underpin the films of Jia Zhangke, the foremost contemporary Chinese director of his generation.

The very first edition of Senses of Cinema appeared on line in December 1999, so it is appropriate that our final issue for 2009 appears, if only just, exactly to the month ten years on. By pure coincidence, 20...

23 January – 3 February 2008 If one had the time, if one were able to perceive life and its screens on a multiple level, if one were gifted to grasp the many entirely rounded up festivals within this one...

23 September – 10 October 2007 While I couldn’t make the trek to the 2007 Hong Kong International Film Festival (HKIFF), there were murmurs amongst those who attended of a less-than-stellar program a...

Commissioned to celebrate the 60^th Anniversary of the Cannes Film Festival, this article reflects on the relative merits of the many short films contributed by noted international filmmakers such as Wong Kar-wai, David Cronenberg, Roman Polanski, Jane Campion and Tsai Ming-liang.

Books on Asian media with “globalisation” in their titles often address a familiar set of topics, such as the migration of Hong Kong film stars to Hollywood or the challenge posed to purportedly local cinemas b...

Editors’ Note Welcome to the annual Senses of Cinema World Poll. Readers should find it a fascinating overview of cinema from a multitude of countries and cultures. As some readers will seek and search entr...

28 September–13 October 2006 The jury is still out whether cinema is a “window to the world” – yet “masking” it rather than “framing” it (André Bazin) – or if it is made of “fragments extracted from the ...

17–26 November 2006 Many international film festivals feel understandably compelled to both fulfil their missions as showcases for world cinema and cater, as best they can, to the needs of the local comm...

In China, as elsewhere, new locations and new media have redefined the experience of watching a moving image, beyond the cinematic experience. (1) The visual works that one can view outside movie theatres g...

April 4–19, 2006 Immediate and full disclosure: I spent only nine full days in Hong Kong, saw 27 movies, (1) and ate way too much dim sum. (2) Below is a list of what I saw, (3) reactions fearlessly summ...

Published in late 2005, Michael Berry’s Speaking in Images: Interviews with Contemporary Chinese Filmmakers is a groundbreaking English-language volume containing in-depth personal interviews with 20 most signi...

October 21–November 10, 2005 The earliest evidence of filmmaking in China, by Chinese people, dates to 1905, when a photographer named Ren Jingfeng made a film of a Beijing opera, DingJun Mountain (1). T...

Editors’ Note As readers may seek and search entries, rather than read from beginning to end, full titles, director credits and years of release have been included with each reference. Several authors have ...

The Entries Acquarello Mubarak Ali Michael J. Anderson Geoff Andrew Saul Austerlitz Martyn Bamber Mike Bartlett Steve Benedict Alexander Bisley Stephen Brower Thomas Caldwel...

Raise the Red Lantern/Da Hong Denglong Gao Gao Gua (China 1991 125 mins) Source: Level Four Films Prod Co: Palace/Era/China Film Prod: Chiu Fu-sheng Dir: Zhang Yimou Scr: Ni Zhen, from the story by Su To...

In response to the announcement that Jia is now officially allowed to make films in his own country, Jaffee follows the trail of the “underground” filmmaking of the “sixth generation” and wonders “where to from here?”

b. March 31, 1932, Kyoto, Japan d. January 15, 2013, Fujisawa, Kanagawa, Japan filmography bibliography articles in Senses web resources Introduction Nagisa Oshima's interest in politics began at a...

The compiler of any volume of critical essays on Chinese films will inevitably encounter a number of challenges. For one thing, there is the question of where to draw the boundaries of “Chinese film” – does thi...

The Entries Acquarello Peg Aloi Michael J. Anderson Geoff Andrew Saul Austerlitz Matt Bailey Martyn Bamber Mike Bartlett Nicholas Butler Peter Calder Thomas Caldwell Mark...

Sometimes the third world film-maker finds himself before an illiterate public, swamped by American, Egyptian or Indian serials, and karate films, and he has to go through all this, it is this material that h...

A sweeping analysis of the rise and history of documentary filmmaking in China, its significance as a formally innovative medium and a voice for the marginalised.

Red Sorghum (1987 China 91 mins) Source: NLA/ACMI Prod Co: Xi'an Film Studio Prod: Dir: Zhang Yimou Scr: Chen Jianyu, Zhu Wei based on the books by Mo Yan Phot: Gu Changwei Ed: Du Yuan Art Dir: Yang Gang...