Term
| Easy Rider (film details) |
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Definition
Director: Dennis Hopper
made in 1969
Stars = Dennis Hopper, Peter Fonda, and Jack Nicholson is in it (dies when beat up);
New Hollywood film era.
This film revolves around two bikers who are heavily into drugs (pot, LSD) and are travelling across the US. The men are trying to find an ambiguous idea of the “American dream”. The ending is strange/open (they get shot, and then last shot is the motorcycles on fire). |
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Term
| Bonnie & Clyde (film details) |
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Definition
Directed by Arthur Penn.
1967.
Starring Warren Beatty and Faye Dunaway as Bonnie and Clyde.
One of the first New Hollywood films. Considered landmark because of its popularity with the youth, and breaking of many taboos.
In the film, Bonnie and Clyde perform a series of heists, which escalate in violence and lead to “one of the bloodiest death scenes in cinematic history.” Bonnie and Clyde are tricked into helping fix a flat tire, and waiting policemen fire upon them mercilessly. |
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1975,
Directed by Steven Spielberg.
High concept summer blockbuster.
A police chief (Roy Scheider), oceanographer (Richard Dreyfuss), and shark hunter (Robert Shaw) pursue a man-eating great white shark. Three full-sized mechanical sharks were used during filming. First film to use “wide release” as a distribution pattern. |
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1977,
Directed by George Lucas.
Epic blockbuster franchise/New Hollywood.
The first film in the franchise was originally released on May 25, 1977, under the title Star Wars, by 20th Century Fox, and became a worldwide pop culture phenomenon, followed by two sequels, released at three-year intervals. Sixteen years after the release of the trilogy's final film, the first in a new prequel trilogy of films was released, again at three-year intervals, with the final film released on May 19, 2005. |
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| The Graduate (film details) |
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Definition
1975
Directed by Steven Spielberg
High concept summer blockbuster.
A police chief (Roy Scheider), oceanographer (Richard Dreyfuss), and shark hunter (Robert Shaw) pursue a man-eating great white shark. Three full-sized mechanical sharks were used during filming. First film to use “wide release” as a distribution pattern. |
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Term
| Midnight Cowboy (film details) |
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Definition
1969
Directed by John Schlesinger
Stars Dustin Hoffman and Jon Voight.
Only X-rated film to win Best Picture. |
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Definition
| Returned to the traditions of the classical studio genres, paying respects to venerated filmmakers. Studios also granted filmmakers the opportunity to create something like European art films. "Movie consciousness," an intense awareness of film history and its continuing influence on contemporary culture. Films dwelled on mood, characterization, and psychological ambiguity. Youthpics, blockbusters, road movies. |
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| Directed The Graduate, Jaws |
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| Directed by Arthur Penn. 1967. Starring Warren Beatty and Faye Dunaway as Bonnie and Clyde. One of the first New Hollywood films. Considered landmark because of its popularity with the youth, and breaking of many taboos. In the film, Bonnie and Clyde perform a series of heists, which escalate in violence and lead to “one of the bloodiest death scenes in cinematic history.” Bonnie and Clyde are tricked into helping fix a flat tire, and waiting policemen fire upon them mercilessly. |
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| Produced exploitation film The Monster from the Ocean Floor 1954. Shot three black comedies. Praised for imaginative lighting and color, films appealed to teenagers. Major director for American International Pictures (AIP), known for low budget production costs. |
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| a continuity cut that joins two shots of the same gesture, making it appear to continue uninterrupted (but two things that might not normally go together). (Lindsay Varien) example: clip we watched from The Graduate of Dustin Hoffman getting out of the pool but cuts to him in bed. |
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| 1966 Volker Schlondorff, won eight festival prizes |
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| (The Great Love) is a German drama film of the National Socialist period, made by Rolf Hansen, starring Zarah Leander and Viktor Staal.[1] It premiered in Berlin in 1942 and went on to become the most commercially successful film in the history of the Third Reich. While on the one hand the suspensefully presented love story, with its images of the North African desert, Paris and Rome, as well as the extravagant show numbers, constitutes an invitation to dream, yet on the other hand "Die grosse Liebe" urges adjustment to the realities of war at all levels. Not love, but war, is the real theme of the film. This is despite omitting any background for, or events in, the war. |
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| a propaganda film made by Leni Riefenstahl. It chronicles the 1934 Nazi Party Congress in Nuremberg, which was attended by more than 700,000[1] Nazi supporters. The film contains excerpts from speeches given by various Nazi leaders at the Congress, including portions of speeches by Adolf Hitler, interspersed with footage of massed party members. Hitler commissioned the film and served as an unofficial executive producer; his name appears in the opening titles. The overriding theme of the film is the return of Germany as a great power, with Hitler as the True German Leader who will bring glory to the nation. |
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is a 1945 German propaganda film directed by Veit Harlan and Wolfgang Liebeneiner. It opened on January 30, 1945 simultaneously in Berlin and to the crew of the naval base at La Rochelle. It was also screened in the Reich chancellery after the broadcast of Hitler's last radio address on January 30. The film is in Agfacolor.
The film was based on the autobiography of Joachim Nettelbeck, mayor of Kolberg. It told the story of the successful defence of the besieged fortress town of Kolberg against French troops between April and July 1807. Drawing the parallel to modern times, it offered propaganda to fight the attackers until the very end. |
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New German
Watched by over 20 million people
Directed by Hans Deppe who had worked at UFA during the Nazi era
Cliché ridden, Afga-colored images of landscape – viewed by the New German cinema directors who came of age at this time as deceitful movie kitsch |
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| is a 1977 film by German director Werner Herzog. It was written in four days specifically for Bruno S. and was shot in Berlin, two towns in Wisconsin, and in North Carolina. Most of the lead roles are played by non-actors. |
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| (also known in English as Fear Eats the Soul) is a 1974 West German film written and directed by Rainer Werner Fassbinder and starring Brigitte Mira and El Hedi ben Salem. The film won two awards at the 1974 Cannes Film Festival[1] and is considered to be one of Fassbinder's most powerful works. Brigitte Mira received the German Film Award for her performance. |
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| was a political movement of the 19th century aiming for unity of the German-speaking populations of Europe |
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| the state of Germany from 1933 to 1945, when it was a totalitarian dictatorship ruled by Adolf Hitler and his Nazi Party. |
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| film company that was the principal film studio in Germany, home of the German film industry during the Weimar Republic and through World War II, and a major force in world cinema from 1917 to 1945. After World War II, UFA continued producing movies and television programmes to the present day, making it the longest standing film company in Germany. |
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| declaration by a group of 26 young German filmmakers at the International Short Film Festival Oberhausen, North Rhine-Westphalia on February 28, 1962. The manifesto was a call to arms to establish a "new German feature film". It was initiated by Haro Senft and among the signatories were the directors Alexander Kluge and Edgar Reitz. The manifesto was associated with the motto "Papas Kino ist tot" (Papa's cinema is dead), although this phrase does not appear in the manifesto itself. |
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Definition
Wenders began his career with the rise of the New German Cinema at the end of the 1960s, making his feature directorial debut with Summer in the City (1970)
Introspective, sensibilist new german filmmaker. anti-narrative impulses. Influenced by American culture. |
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| Young German Cinema Movement |
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Definition
| In 1962 26 filmmakers signed a declaration stating old cinema was dead, and 3 years later, gov't established the Kuratorium Junger Deutsch Film (Commission for Young Dutch Film). Low budget experimental films. Films: Yesterday Girl, Young Torless |
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Dream world fulfilling the desires for a healthy Germany, beautiful landscapes and naïve but noble German people
300 of these “heimat” or homeland films - made in the 1950s - hark back to the mountain films of the 1920s and 30s
Also allied to the Nazi “blood and soil” genre which glorified rural life as a mystical embodiment of German blood and German soil
Like American western shows imaginary places, unabashedly nostagic picture of an idealized Germany yet fulfilled real collective needs of a war-battered people and of the many refugees from the East forced to make the West their homeland |
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Post war German
Sissi series based on the life of the Bavarian princess Elizabeth who became the Austrian empress |
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| The strength of German cinema lies in its diversity --- the funding system has become a maze of bureaucratic controls ---the imagination must not be administered… the German cinema of the 1980s can no longer be remote controlled by the TV broadcasters, committees and special interest groups as it has been upto now. We have proven our professionalism, we ae no longer merely a guild. Our only allies are the spectators |
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| Television framework agreement |
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Definition
TV – specifically public service television with its goals of cultural diversity and political consensus emerged as a really important exhibition venue for the New German cinema that could expect to have little success in movie theatres. TELEVISION FRAMEWORK AGREEMENT
Owing to the specific directives that underwrote TV programming guidelines, underrepresented groups like women were encouraged to work in TV leading to the fostering of women filmmakers in West Germany
Owing to this intimate relation with the state, New German cinema had a tendency to become a part of official culture, fostering the image of new Germany that questioned itself, worked through its past and brought home awards from film festivals |
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| 1966 film The Young Torless, based on Robert Musil’s 1906 novel of boarding school life tells the story of a student who watches half-fascinated and half-repelled, as two other students torture a student of Jewish descent. |
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| The UFA – the famous German film company formed in the 1920s - film critic Karsten Witte suggests routinely made feature films that translated the aesthetics of overtly propagandist fare like Leni Reifenstahl’s The Triumph of Will (1934) into the grammar of popular film genres |
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| New German Cinema director. exemplifies collage trend in political modernism. Confronted spectator with gaps for fantasy to take root |
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Mass culture and militarism
Die grosse Liebe (1942) |
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Documentary/fiction filmmaker. Mystical subject matter. Unearthly beauty, superhuman endurance.
Introspective, sensibilist new german filmmaker. Highly romantic sensibilities, aimed for purity of perception. |
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| Best known director of New German Cinema partly because of his aggressive personality. Influenced by French New Wave and political modernism of 60's. Taste for grotesque comedy, splashy violence, and strong realism of dialects. Movement from anarchistic and severe political modernism to less disturbing conventions of Hollywood and art cinema |
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Term
| Douglas Sirk and Hollywood melodramas |
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Definition
a German director who made a series a Hollywood melodramas in the 1950s
What impressed Fassbinder about Sirk were the “unhappy happy endings” – the way he blocked identification with characters |
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| leftist playwright who invented "epic theater." Believed theater spectators should be distanced from the actions they witnessed to think through implications of events. "alienation effect" |
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| Isolationist themes (German cinema) |
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| “In Brecht you see the emotions, and you reflect upon them as you witness them but you never feel them -- I let the audience feel and think” |
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B for Bombay, the West Indian city where the film industry is based – word coined by journalists in the 1970s to signal the derivative nature of commercial Hindi cinema
More recently, the word is claimed as a badge of pride to signal an alternative commercial film industry which like Hollywood – if to a lesser extent – has generated a unique product that has successfully competed against Hollywood cinema not only domestically, but has also circulated globally, at least since the 1930s. |
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| Bollywood cinema has since the 1930s found audiences in places like South-east Asia, China, the former Soviet Union, Greece, Brazil, Chile, Peru, Africa, The Middle East – in other words, the developing world – postcolonial countries that after the second world war were trying to define themselves against European and US colonialism |
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| First major indian filmmaker. released 1913. He grasped western filmmaking principles |
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| in Hollywood cinema we notice a move towards instituting the “fourth wall” – the spectator is a voyeur looking in on a self-contained world that is supposed to resemble our world. The invisibility of the spectator endows the world onscreen with its “realism”. Though the film is created for our viewing pleasure, characters do not look directly at us but rather at each other. Basic formal features like establishment shots, shot-reverse shot, eye line match, cut on action, 180 degree rule etc generate mimetic competence and try to render cinematic construction invisible. The world on screen seems real because its narration is rational, probable, following the rules of causality. Hindi film does not seem to follow this basic principle – spectator is not a voyeur looking in on a private world but rather the world on screen expects to be looked at and admits the gaze of the viewer by directly confronting it. Its mode of address is FRONTAL. This makes Hindi films seem cruder, less realistic, more theatrical. |
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Term
| DDLJ (Dilwale Dulhania Le Jayenge |
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Definition
| (“The Braveheart will Take the Bride”, Chopra, 1995) explore the interaction between characters of Indian origin who live in the West and the values of the home country. |
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| Darshan refers to the specular relation between the god and devotee. The cinematic gaze is akin to that of the devotee – the cinematic image, particularly the body of the star has a sacred power. Low angle shots, star centered composition, artificial scale, emphasizes the sacral power of the images. In the silent era, when a great number of films were mythologicals, this was dictated by the subject matter itself but some of these conventions carried over for the next many decades even when cinematic subjects become more secular and social in nature. Many features of classic Hollywood narration were adopted but not always consistently – same film, sometimes the same sequence will reveal the coexistence of two modes of spectatorship – voyeuristic and darshanic |
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| Actor, producer, (star of Dil Se) |
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| Song and dance, Derived from the show-musical but in the context of colonial Indian cinema, also expressed massification |
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(Mehboob Khan, 1957)
Nominated for the Oscar and a huge hit. This is what B.D Garga writes about the film’s reception in North Africa in 1968: ‘Well over a decade after its release in India, the Cinematheque Algerienne was showing Mother India to a packed house. As I watched the film, I was surprised to see the spell a rural Indian family has cast upon a wholly Arab audience.’ |
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(The Wall, 1977)
Two brothers -- one a criminal, one a cop struggling for legitimacy in the eyes of the mother |
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adventure series starring an Australian actress referred to as India’s own Pearl White
These genres dictated by colonial censorship rules which did not encourage contemporary subject matter since the power of cinema to incite a strong response among the masses was viewed as particularly dangerous when dealing with a “subject” race. All types of political subject matter was censored though interestingly sex was not.
Much kissing in silent era Indian films - disappeared with the coming of sound - why? As cinema viewed as instrument of nationalism, frank sexuality was regarded as against “Indian” values. |
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| “I decided to establish it on permanent footing to prove employment to hundreds of worker-artists like me. I was determined to do my duty … to defend this industry even in the absence of an y financial support, with the firm conviction that the Indian people would get an occasion to see Indian images on the screen and people abroad would get a true picture of India” |
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| “I was surprised to see the spell a rural Indian family has cast upon a wholly Arab audience” |
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| --BD Garga about Mother India. |
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| Russian Revolution (1917) |
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| Vladimir Lenin (and decree of the transfer of the photographic and cinematographic industry and Trade of the people’s commissariat of education’) |
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Definition
Thaw era cinema: Boom of auteur cinema
Demonumentalized, Emotional Catharsis,
Personal Stories |
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| Nikita Kruschev (and the “Secret Speech”) |
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Definition
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| May 1986: Revolt of the Filmmakers/Fifth Congress of the filmmakers Union |
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Definition
Lev Kulidzhanov ousted.
Elem Klimov (repressed director) new head
All new delegates in the union
Klimov forms Conflict Commission
Release of shelved films
Abolishes most censorship (legally abol. 1990)
Studios financial and creative independence |
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| (repressed director) new head of the Fifth Congress of filmmakers union |
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| “openness”; a Russian political movement led by Mikhail Gorbachev that called for the rebuilding of Soviet institutions and restructuring of the Soviet Union as a whole. It encouraged more freedom of speech in Russia, and gave filmmakers much more freedom to analyze and criticize the old political system (Stalin) in their films. From the book: “Stalin’s regime was excoriated, and citizens were encouraged to discuss the failures of the economy, the rise of crime and drug use, and the sense that the Soviet system bred people to be brutal” (pg. 594) |
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Chern(ii) = black;
ukha = suffix w/ pejorative connotation
dirty, crowded apartments
littered courtyards
urban streets at night
beer bars/ liquor stores
police stations prisons.
drug addiction
sex as rape |
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Soviet aueteur cinema
Ivan’s Childhood. 1962 |
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| CIS (Commonwealth of Independent States) |
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| (1977-1979) - Tehran, the capital, was in revolt to denounce The Shah when the leader left the country. Khomeini took over as The Shah’s place in Iran. |
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| Burning of the Rex Theatre (1978) |
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Definition
| On August 10, 1978, during the last days of the reign of the Pahlavis, three men walked into the Rex Theatre in Abadan with a paper bag containing high octane fuel and some matches and set fire to the theatre which was screening a film called The Deer. 300 people were trapped inside and none escaped. |
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Term
| Esmail Kusha (and The White Glove, 1951 and Tempest of Life, 1946) |
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Definition
1945: Esmail Kushan began to introduce European and American films into Iran and created a exhibition empire
Made his first film The Tempest of Life in 1946
1951: the first 16 mm film made - The White Glove - included a song-dance sequence by Mahvash and this became a standard in all Iranian cinema up to the revolution |
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Term
| Garv (The Cow) Dir. Daryush Mehruji, 1969 |
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Definition
| man so obsessed with his cow that he goes mad after its death |
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| Films Division of Institute for Intellectual Development of Children |
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Definition
became a focal point for a major movement of Iranian cinema
Pahlavi Regime instituted this to provide youth with harmless entertainment but this turned out to be Trojan horse
Sponsored cinema that was subversive of the regime -- see a number of films that reveal without being too overt the surface of all things especially through eyes of children who are seen as “realities in the making” |
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| Role of Children in Iranian cinema (both pre and post Revolution) |
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Definition
publicness
realities in the making |
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Definition
post revoluiton
Engaged in purifying the stock of existing film through the “magic marker” method -- “We have to show films according to the Islamic standard - when the magic marker does not work, we cut.”
1979: 2000 films reviewed and permit granted to 200
1982: 26 films reviewed and permit granted to 7 |
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Term
| “Dissolve not a Cut” (Iranian cinema) |
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Definition
Requires a cultural and ideological shift
Published regulations governing exhibition of film and videos
Centralization of the industry
Mixed production base but by 1989, almost a half of the productions were directly in the private sector |
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Definition
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| Importance/Prevalence of Women in film (behind the camera work, including female directors) |
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Definition
women who make movies:
Rakhshan Bani-Etamad
Faryal Behzad
Tahimineh Milani
Mariziyeh Borumand
Kobra Saidi
Samira Makhmalbaf |
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Term
| Public/Private slip (in cinema and on a formal level) |
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Definition
Iranian new wave
Rethinking the private and public in film aesthetics -- long shots, takes etc
Reframing
Emphasis on the apparatus |
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Definition
| Dir. Moment of Innocence 1966 |
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| A Moment of Innocence (1996) |
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Definition
| Dirc by Mohsen Makhmalbaf |
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Term
| The “Quality fund” (Israel) |
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| The Makhmalbaf Film House |
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| "Children as realities in the making" |
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Definition
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| During Magic Marker Period: “We have to show films according to the Islamic standard -- when the magic marker does not work, we cut.” |
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Definition
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| “I believe the cinema is not the mosque, … If we remove cinema from its natural place, we will no longer have a cinema …, If we transform cinema so that one enters a moviehouse one feels so oppressed that one feels leisure time has changed to homework time, then we have deformed society.” |
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Definition
| (Khatami and the ideological repositioning of cinema). |
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| Golden Age of Silent Film (colonial period) (South Korean cinema) |
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Definition
Japanese-occupied so theatres and studios were Japanese-owned and operated
Young Korean actor Na Woon-gyu given the opportunity to act and direct his own films by the Choson Film Company as his film Arirang (based again on a traditional song) considered the first high-quality silent Korean film.
Though films during the colonial period were putatively apolitical, the tradition of the byeonsa (J: benshi, narrator) used as a cheap alternative to intertitles but also inserted subversive, satirical messages that complicated the images
More than 70 films made during this period including a number of productions that were made by and for Koreans. This nationalistic streak is an important motif in Korean film culture that becomes significant in the period of the Korean film renaissance of the 1990s |
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Term
| Golden Age of Sound 1955-1973 (South Korean cinema) |
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Definition
Though freed of the occupation in 1945, the next few years civil war broke out and finally in 1955 Korea was divided into a communist North and an authoritarian South.
Under new president Syngman Rhee, the domestic film industry received a lot of support and from a mere 5 films in the early 1950s, by 1959 – the were making a record 111 films a year.
Some classics of this period included Kim Ki-Young’s The Housemaid (1960) and Yu Hyun-mok’s Aimless Bullet (1961) |
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Term
| South Korean Film Renaissance 1990-Present |
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Definition
Redefinition of the genre movie
Reference to current events that characterizes the “planned film”
The use of special effects
Marrying high end design with political commentary with box office appeal
The centrality of family
The persistence of melodrama
Mixture of “elements” – comedy, drama, road movie etc
Commercial strategies included opening wide and vigorous cross-media promotion |
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Definition
| Arguably the first Korean film – Chunhyang Jeon (Hangul, 1921) based on traditional music form called pansori. This epic love story has been frequently filmed and one can count as many as 14 versions. It formed the basis of the first sound, color and widescreen films. Most famous version following the pansori format is Im Kwon-Taek’s 2000 version. |
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Definition
| traditional korean music form found in Chunhyang Jeon |
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Term
| Role of remakes in SK filmmaking |
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Definition
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Term
| March of Fools (Ha Kil-jong 1976) |
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Definition
| Ha Kil-jong’s coming of age classic March of Fools (1976) mercilessly censored because it was viewed as anti-establishment but this scene of suicide and the anthem that accompanies it survived |
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Term
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Definition
Military Dictatorship of Park Chang Hee introduced this law in 1962 to the great detriment of the film industry in South Korea
Companies had to hold a license to make films and in order to do so they would have to own studios, technical facilities and hire a certain number of permanent staff. This meant that only the largest companies could do meet this criterion and thus independent production was impossible.
Also meant that the government through direct censorship and licensing severely limited what films could be produced
Typical film company that emerged out of this system was capital rich and commercially oriented |
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Term
| Motion Picture Law Revised 1984-1986 |
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Definition
Far-reaching and wide-ranging implications of these amendments that included:
Relaxing the licensing guidelines that allowed for a proliferation of independent producers. These producers would later assume a big role in the film renaissance
MPEAA forced the hand of the Korean government to relax restrictions and reduce levies with the result that exports galloped from 27 in 1985 to 264 in 1989
Arrival of Hollywood meant a drastic change in distribution systems as the distinct territories of distribution collapsed to create ONE film market
Ironically, this competition as well as reforms in the 1990s really strengthened the domestic industry in South Korea so that by the late 1990s it had become one of the most robust in the world in the arena of both art and commercial filmmaking and domestic consumption had far surpassed exports |
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Term
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Definition
These business conglomerates like Samsung, Daewoo and SKC entered the arena of film investment primarily to take advantage of new technologies like the video and DVD market which they had manufacturing stakes in. It was way to secure content and therefore integrate the after sales market with exhibition
Corporate management that accountability was high and thus the need for commercial viability was emphasized though the actual money trail may indeed be less than transparent
One way to guarantee returns was to rationalize the product through genres and yet the chaebol insisted that the genres should be different from the ones offered by Hollywood so they might secure a competitive advantage. Thus interesting cross genres like “sex-war” films
Intense investment in film infrastructure that led to rise of high value services like special effects and within a few scant years the Korean special effects companies became among the best in the world
The tendency to vertically integrate helped successfully battle the Hollywood threat and this model remained dominant in the post-chaebol era of the 2000s
Ended with the entrance of the venture capitalists and a government that used the success of Korean cinema in the “boom” years to really promote film as a major investment
State film policy aided the rise of commercial cinema in South Korea |
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Term
| The Host (Bong Jooh-Ho 2006) |
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Definition
Directed by
Redefinition of the genre movie
Reference to current events that characterizes the “planned film”
The use of special effects
Marrying high end design with political commentary with box office appeal
The centrality of family
The persistence of melodrama
Mixture of “elements” – comedy, drama, road movie etc
Commercial strategies included opening wide and vigorous cross-media promotion |
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Definition
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Definition
is a Japanese film director and screenwriter
960 films explored - in challenging fashion - Ōshima's disillusionment with the traditional political left, and his frustrations with the right, and Shochiku withdrew the film from circulation after less than a week, claiming that, following the recent assassination of the Socialist Party leader by a right-wing extremist, there was a risk of “unrest”. Ōshima left the studio in response, and launched his own independent production company. |
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| Japanese businessman and co-founder of Sony Corporation along with Masaru Ibuka. |
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| is a Japanese film director, producer, screenwriter and editor. His films explore themes of memory, death, and coming to terms with loss. |
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| Takeshi Kitano (“Beat” Takeshi) |
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| is a Japanese filmmaker, comedian, singer, actor, tap dancer, film editor, presenter, screenwriter, author, poet, painter, and one-time video game designer who has received critical acclaim, both in his native Japan and abroad, for his highly idiosyncratic cinematic work. |
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| Japanese horror fiction in popular culture, noted for their unique thematic and conventional treatment of the horror genre in light of western treatments. Japanese horror tends to focus on psychological horror and tension building (anticipation), particularly involving ghosts and poltergeists, while many contain themes of folk religion such as: possession, exorcism, shamanism, precognition, and yōkai. |
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| is a Japanese manga artist and prominent film director and animator of many popular anime feature films. |
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| Beginning in the mid-late 1980s, the rise of the so-called Fifth Generation of Chinese filmmakers brought increased popularity of Chinese cinema abroad. Extremely diverse in style and subject, the Fifth Generation directors' films ranged from black comedy (Huang Jianxin's The Black Cannon Incident, 1985) to the esoteric (Chen Kaige's Life on a String, 1991), but they share a common rejection of the socialist-realist tradition worked by earlier Chinese filmmakers in the Communist era. |
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| Chinese film director, producer, writer and actor, and former cinematographer.[3] He is counted amongst the Fifth Generation of Chinese filmmakers |
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| Apichatpong Weerasethakul |
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| is a Thai independent film director, screenwriter, and film producer. Themes reflected in his films (frequently discussed in interviews) include dreams, nature, sexuality (including his own homosexuality),[3] and Western perceptions of Thailand and Asia, and his films display a preference for unconventional narrative structures (like placing titles/credits at the middle of a film) and for working with non-actors. |
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| Evolution of a Filipino Family (2005) |
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| Return of Hong Kong to China - 1997 |
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Closer Economic Partnership Agreement
are economic and trade agreement between the separate customs territories within the People's Republic of China. |
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| is one of the most celebrated "Second New Wave" film directors of Taiwanese Cinema. All of his feature films have starred Taiwanese actor Lee Kang-sheng. |
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is a 1999 South Korean action film, written and directed by Kang Je-gyu.
Swiri was the first Hollywood-style big-budget blockbuster to be produced in the "new" Korean film industry (i.e. after Korea's major economic boom in late 1990s).[1] Created as a deliberate homage to the "high-octane" action film made popular by Hollywood through 1980s, it also contained a story that draws on strong Korean national sentiment to fuel its drama.[1] Much of the film's visual style shares that of the Asian action cinema, and particularly Hong Kong action cinema |
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| is a South Korean film director and screenwriter. |
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| is a South Korean film director, screenwriter, producer, and former film critic |
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| “The state of the Korean film industry is more than just depression … Its slump is so serious that the industry may collapse completely …” in regards to industry in 1992-1993. |
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| One critic described The Host as “Little miss sunshine meets King Kong.” |
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