Postsocialist Cinema in Post-Mao China: The Cultural by Chris Berry
By Chris Berry
This booklet argues that the elemental shift in chinese language Cinema clear of Socialism and in the direction of Post-Socialism might be positioned ahead of the emergence of the "Fifth iteration" within the mid-eighties whilst it is often assumed to have occured. by means of shut research of movies from the 1949-1976 Maoist period compared to 1976-81 movies representing the Cultural Revolution, it demonstrates that the latter already breaks clear of Socialism.
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Extra resources for Postsocialist Cinema in Post-Mao China: The Cultural Revolution after the Cultural Revolution (East Asia: History, Politics, Sociology, Culture)
Example text
Donald Munro argues that the assumption of natural equality was common to all the major early Chinese schools of thought and unique to China at the time. This is the concept that all human beings are born equal, and that therefore education, upbringing, and experience are crucial. 14 In addition to this deep cultural foundation, Mao Zedong’s Talks on Literature and Art at the Yan’an Forum provide a more immediate explanation of didacticism in post-1949 cinema. 15 Mao asserts there is no separation between art and politics and that art must obey the demands of the revolution: In the world today, all culture or literature and art belongs to a definite class and party, and has a definite political line.
They have few individualized, psychological patterns marking them out beyond their social identities. 2 Liu Nina’s first appearance in The Unfailing Beam. a genre not noted for subtle characterization. Woman Basketball Player No. 5 is a melodrama full of romance, flashbacks, and misadventures, and its major characters are distinguished from lesser characters by individualized traits and motifs. Furthermore, it is set in the sports world, where the class or political divisions that define character in many other films are at least one step removed.
However, this chapter focuses more on common points holding the classical Chinese cinema together, as these stand out strongly in contrast to the 1976–1981 films examined in detail here. This should not be taken to mean that there is no variety within classical Chinese cinema, anymore than that is the case for classical Hollywood cinema. My hope is that my remarks in the chapter will help to encourage further work on the variations between subject matter categories in classical Chinese cinema and also historical change.