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The Finest Hours Deutsch Geschichte des Kinos der Volksrepublik China. Dokumentarfilm Du sortierst nach: Beste. Die überzogenen Kampffähigkeiten stammen übrigens aus dem Wuxia Genre zu dem auch jüngere Blockbuster wie Hero gehören. Geschichts-Dokumentation 1. Bergfilm 1. Biopic Sky TicketVisit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites.
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User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Director: Wolfgang Liebeneiner.
Writers: Manfred Barthel , Kurt Nachmann. Added to Watchlist. Stars of the s, Then and Now. Heinz Rühmann Films.
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Photos Add Image. Edit Cast Credited cast: Heinz Rühmann Poliakoff Senta Berger Detta Gaspardi Peter Pasetti Gaspardi Harald Leipnitz The thawing of censorship in —57 known as the Hundred Flowers Campaign and the early s led to more indigenous Chinese films being made which were less reliant on their Soviet counterparts.
Before the New Director Arrives exposes the hierarchical relationships occurring between the cadres, while his next film, The Unfinished Comedy , was labelled as a "poisonous weed" during the Anti-Rightist Movement and Lü was banned from directing for life.
Films made during this period are polished and exhibit high production value and elaborate sets. Chinese cinema began to directly address the issue of such ethnic minorities during the late s and early s, in films like Five Golden Flowers , Third Sister Liu , Serfs , Ashima During the Cultural Revolution , the film industry was severely restricted.
Almost all previous films were banned, and only a few new ones were produced, the so-called "revolutionary model operas ".
Feature film production came almost to a standstill in the early years from to Movie production revived after under the strict jurisdiction of the Gang of Four until , when they were overthrown.
The few films that were produced during this period, such as 's Breaking with Old Ideas , were highly regulated in terms of plot and characterization.
In the years immediately following the Cultural Revolution, the film industry again flourished as a medium of popular entertainment.
Production rose steadily, from 19 features in to in The industry tried to revive crowds by making more innovative and "exploratory" films like their counterparts in the West.
In the s the film industry fell on hard times, faced with the dual problems of competition from other forms of entertainment and concern on the part of the authorities that many of the popular thriller and martial arts films were socially unacceptable.
In January the film industry was transferred from the Ministry of Culture to the newly formed Ministry of Radio, Cinema, and Television to bring it under "stricter control and management" and to "strengthen supervision over production.
The end of the Cultural Revolution brought the release of "scar dramas", which depicted the emotional traumas left by this period.
In the s, open criticism of certain past Communist Party policies was encouraged by Deng Xiaoping as a way to reveal the excesses of the Cultural Revolution and the earlier Anti-Rightist Campaign , also helping to legitimize Deng's new policies of " reform and opening up.
Many scar dramas were made by members of the Fourth Generation whose own careers or lives had suffered during the events in question, while younger, Fifth Generation directors such as Tian tended to focus on less controversial subjects of the immediate present or the distant past.
Official enthusiasm for scar dramas waned by the s when younger filmmakers began to confront negative aspects of the Mao era.
The Blue Kite , though sharing a similar subject as the earlier scar dramas, was more realistic in style, and was made only through obfuscating its real script.
Shown abroad, it was banned from release in mainland China, while Tian himself was banned from making any films for nearly a decade afterward. After the Tiananmen Square Protests , few if any scar dramas were released domestically in mainland China.
Beginning in the mid-late s, the rise of the so-called Fifth Generation of Chinese filmmakers brought increased popularity of Chinese cinema abroad.
These graduates constituted the first group of filmmakers to graduate since the Cultural Revolution and they soon jettisoned traditional methods of storytelling and opted for a more free and unorthodox symbolic approach.
Tian Zhuangzhuang 's films, though less well known by Western viewers, were well noted by directors such as Martin Scorsese.
Diverse in style and subject, the Fifth Generation directors' films ranged from black comedy Huang Jianxin 's The Black Cannon Incident , to the esoteric Chen Kaige's Life on a String , , but they share a common rejection of the socialist-realist tradition worked by earlier Chinese filmmakers in the Communist era.
Fifth Generation filmmakers reacted against the ideological purity of Cultural Revolution cinema.
By relocating to regional studios, they began to explore the actuality of local culture in a somewhat documentarian fashion. Instead of stories depicting heroic military struggles, the films were built out of the drama of ordinary people's daily lives.
They also retained political edge, but aimed at exploring issues rather than recycling approved policy. While Cultural Revolution films used character, the younger directors favored psychological depth along the lines of European cinema.
They adopted complex plots, ambiguous symbolism, and evocative imagery. These films came with a creative genres of stories, new style of shooting as well, directors utilized extensive color and long shots to present and explore history and structure of national culture.
As a result of the new films being so intricate, the films were for more educated audiences than anything.
The new style was profitable for some and helped filmmakers to make strides in the business. It allowed directors to get away from reality and show their artistic sense.
The Fourth Generation also returned to prominence. Given their label after the rise of the Fifth Generation, these were directors whose careers were stalled by the Cultural Revolution and who were professionally trained prior to Wu Tianming , in particular, made outstanding contributions by helping to finance major Fifth Generation directors under the auspices of the Xi'an Film Studio which he took over in , while continuing to make films like Old Well and The King of Masks The Fifth Generation movement ended in part after the Tiananmen Incident , although its major directors continued to produce notable works.
Several of its filmmakers went into self-imposed exile: Wu Tianming moved to the United States but later returned , Huang Jianxin left for Australia , while many others went into television-related works.
A significant feature of these films is the incorporation of a " red song ", which is a song written as propaganda to support the People's Republic of China.
Theoretically, once the red song dominates the charts, it will stir interest in the film that which it accompanies. Main melody dramas are often subsidized by the state and have free access to government and military personnel.
August 1st Film Studio , the film and TV production arm of the People's Liberation Army , is a studio which produces main melody cinema.
Main melody films, which often depict past military engagements or are biopics of first-generation CCP leaders, have won several Best Picture prizes at the Golden Rooster Awards.
The post era has been labelled the "return of the amateur filmmaker" as state censorship policies after the Tiananmen Square demonstrations produced an edgy underground film movement loosely referred to as the Sixth Generation.
The title and subjects of many of these films reflect the Sixth Generation's concerns. The Sixth Generation takes an interest in marginalized individuals and the less represented fringes of society.
For example, Zhang Yuan 's hand-held Beijing Bastards focuses on youth punk subculture , featuring artists like Cui Jian , Dou Wei and He Yong frowned upon by many state authorities, [64] while Jia Zhangke's debut film Xiao Wu concerns a provincial pickpocket.
As the Sixth Generation gained international exposure, many subsequent movies were joint ventures and projects with international backers, but remained quite resolutely low-key and low budget.
It featured no star of international renown and was acted mostly by non-professionals. Many Sixth Generation films have highlighted the negative attributes of China's entry into the modern capitalist market.
Li Yang 's Blind Shaft for example, is an account of two murderous con-men in the unregulated and notoriously dangerous mining industry of northern China.
While both directors represent Chinese cinema, their profiles are quite different. The 49 year old Jia set up the Pingyao International Film Festival in and on the other hand is Zhang, a year-old film school professor who spent years working on government commissions and domestic TV shows after struggling with his own projects.
Despite their different profiles, they mark an important cornerstone in Chinese Cinema and are both credited with bringing Chinese movies to the international big screen.
Chinese director Jia Zhangke's latest film Ash Is Purest White has been selected to compete in the official competition for the Palme d'Or of the 71st Cannes Film Festival, the highest prize awarded at the film festival.
In , he was a member of the official jury and the following year his film Mountains May Depart was nominated. According to entertainment website Variety , a record number of Chinese films were submitted this year but only Jia's romantic drama was selected to compete for the Palme d'Or.
There is a growing number of independent seventh or post-Sixth Generation filmmakers making films with extremely low budgets and using digital equipment.
They are the so-called dGeneration for digital. Ying Liang and Jian Yi are two of these generation filmmakers. Ying's Taking Father Home and The Other Half are both representative of the generation trends of the feature film.
Liu Jiayin made two dGeneration feature films, Oxhide and Oxhide II , blurring the line between documentary and narrative film. Oxhide , made by Liu when she was a film student, frames herself and her parents in their claustrophobic Beijing apartment in a narrative praised by critics.
An Elephant Sitting Still was another great work considered to be one of the greatest films ever made as a film debut and the last film by the late Hu Bo.
Two decades of reform and commercialization have brought dramatic social changes in mainland China, reflected not only in fiction film but in a growing documentary movement.
Shot using a camcorder , the documentary ends with four of the artists moving abroad after the Tiananmen Protests. Another internationally acclaimed documentary is Wang Bing 's nine-hour tale of deindustrialization Tie Xi Qu: West of the Tracks Wang's subsequent documentaries, He Fengming , Crude Oil , Man with no name , Three Sisters and Feng ai , cemented his reputation as a leading documentarist of the movement.
Li Hong , the first woman in the NDM, in Out of Phoenix Bridge relates the story of four young women, who moving from rural areas to the big cities like millions of other men and women, have come to Beijing to make a living.
The New Documentary Movement in recent times has overlapped with the dGeneration filmmaking, with most documentaries being shot cheaply and independently in the digital format.
All had made their impact in the international documentary scene and the use of digital format allows for works of vaster lengths.
Inspired by the success of Disney animation, the self-taught pioneers Wan brothers , Wan Laiming and Wan Guchan , made the first Chinese animated short in the s, thus inaugurating the history of Chinese animation.
Chen Yuanyuan [76]. It was at this time that Chinese animation as an art form had risen to prominence on the world stage. Completed in , the film was released under China United Pictures and aroused a great response in Asia.
Japanese animator Shigeru Tezuka once said that he gave up medicine after watching the cartoon and decided to pursue animation. During this golden era, Chinese animation had developed a variety of styles, including ink animation, shadow play animation, puppet animation, and so on.
In the s, digital production methods replaced manual hand-drawing methods; however, even with the use of advanced technology, none of the animated works were considered to be a breakthrough film.
Animated films that tried to cater to all age groups, such as Lotus Lantern and Storm Resolution, did not attract much attention. During this period, the technical level of Chinese domestic animation production has been established comprehensively, and 3D animation films have become the mainstream.
However, as more and more foreign films such as ones from Japan, Europe, and the United States are being imported into China, Chinese animated works is left in the shadows of these animated foreign films.
Though none of these movies made headway in regards to the box office and popularity aspect, it did make filmmakers more and more interested in animated works.
Released in , it became the second highest-grossing film of all time in China. It was with this film that Chinese animated films, as a medium, has finally broken the notion in China that domestic animated films are only for children.
With Nezha , Chinese animation has now come to known to a veritable source of entertainment for all ages. With China's liberalization in the late s and its opening up to foreign markets, commercial considerations have made its impact in posts filmmaking.
Traditionally arthouse movies screened seldom make enough to break even. The film, showcasing exotic landscapes, was well received by Chinese and some Western arthouse audiences, but did poorly at the box office.
One was the romance film Romance on the Lu Mountain , which was a success with older Chinese. The film broke the Guinness Book of Records as the longest-running film on a first run.
Jet Li 's cinematic debut Shaolin Temple was an instant hit at home and abroad in Japan and the Southeast Asia , for example.
Feng Xiaogang 's The Dream Factory was heralded as a turning point in Chinese movie industry, a hesui pian Chinese New Year -screened film which demonstrated the viability of the commercial model in China's socialist market society.
Feng has become the most successful commercial director in the post era. Almost all his films made high returns domestically [81] while he used ethnic Chinese co-stars like Rosamund Kwan , Jacqueline Wu , Rene Liu and Shu Qi to boost his films' appeal.
In the decade following , owing to the influx of Hollywood films though the number screened each year is curtailed , Chinese domestic cinema faces mounting challenges.
The industry is growing and domestic films are starting to achieve the box office impact of major Hollywood blockbusters. However, not all domestic films are successful financially.
As of November , 5 of the top 10 highest-grossing films in China are domestic productions. Under the influence of Hollywood science fiction movies like Prometheus , published on June 8, , such genres especially the space science films have risen rapidly in the Chinese film market in recent years.
He Ping is a director of mostly Western -like films set in Chinese locale. His historical drama Red Firecracker, Green Firecracker won a myriad of prizes home and abroad.
Recent cinema has seen Chinese cinematographers direct some acclaimed films. Zhao , a black comedy film well received abroad. Gu Changwei 's minimalist epic Peacock , about a quiet, ordinary Chinese family with three very different siblings in the post- Cultural Revolution era, took home the Silver Bear prize for Berlin International Film Festival.
There are actors who straddle the dual roles of acting and directing. Xu Jinglei , a popular Chinese actress, has made six movies to date.
Another popular actress and director is Zhao Wei , whose directorial debut So Young was a huge box office and critical success. The most highly regarded Chinese actor-director is undoubtedly Jiang Wen , who has directed several critically acclaimed movies while following on his acting career.
By the early , Let the Bullets Fly had become the highest grossing domestic film in China's history. Since the late s and progressively in the s, Chinese films have enjoyed considerable box office success abroad.
Formerly viewed only by cineastes, its global appeal mounted after the international box office and critical success of Ang Lee 's period martial arts film Crouching Tiger, Hidden Dragon which won Academy Award for Best Foreign Language Film in This multi-national production increased its appeal by featuring stars from all parts of the Chinese-speaking world.
It provided an introduction to Chinese cinema and especially the wuxia genre for many and increased the popularity of many earlier Chinese films.
To date Crouching Tiger remains the most commercially successful foreign-language film in U. Similarly, in , Zhang Yimou's Hero was another international box office success.
Despite criticisms by some that these two films pander somewhat to Western tastes, Hero was a phenomenal success in most of Asia and topped the U.
The Hengdian World Studios can be seen as the "Chinese Hollywood", with a total area of up to ha. The successes of Crouching Tiger, Hidden Dragon and Hero make it difficult to demarcate the boundary between "Mainland Chinese" cinema and a more international-based "Chinese-language cinema".
This merging of people, resources and expertise from the three regions and the broader East Asia and the world, marks the movement of Chinese-language cinema into a domain of large scale international influence.
The ease with which ethnic Chinese actresses and actors straddle the mainland and Hong Kong has significantly increased the number of co-productions in Chinese-language cinema.
Many of these films also feature South Korean or Japanese actors to appeal to their East Asian neighbours.
In , Chinese cinema was the third largest film industry by number of feature films produced annually. Average ticket price was down about 2. From Wikipedia, the free encyclopedia.
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Doku-Drama 2. Ereignisdokumentation 1. Heinz Rühmann Films. Share this Rating Title: Chinese Miracle 4.
Use the HTML below. You must be a registered user to use the IMDb rating plugin. Photos Add Image. Edit Cast Credited cast: Heinz Rühmann Poliakoff Senta Berger Detta Gaspardi Peter Pasetti Gaspardi Harald Leipnitz Linkers Christian Kohlund Kristian Keller Friedhelm Lehmann Folkmann Sabi Dorr Singh Bert Fortell Theo Herbert Fux Menzel Reinhard Kolldehoff Flugkapitän Lisa Chung Ding Dong Edit Storyline The young surgeon Kristian Keller is an idealistic doctor.
Genres: Drama. Steed — See all my reviews. Was this review helpful to you? Yes No Report this. Add the first question. East Asian Cinema. Kamera Books.
University of California-San Diego. Archived from the original on 7 September Retrieved 26 April Ohio State University. Archived from the original on 10 April Retrieved 24 April Oxford: Oxford University Press, pp.
The Chinese Mirror. Archived from the original on 19 March Retrieved 23 January A Companion to Chinese Cinema. Archived from the original on 2 August Retrieved 8 May Archived from the original on 26 August Retrieved 18 August Honolulu: University of Hawai'i Press.
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Chinese Documentaries: From Dogma to Polyphony. Cinema, Space, and Polylocality in a Globalizing China.
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The Oxford history of world cinema Paperback ed. Oxford: Oxford University Press. Cinema of China. Awards Festivals Production companies Studios.
World cinema. National cinema. Algeria Egypt Morocco Tunisia. Djibouti Kenya Somalia Uganda. Angola Madagascar South Africa. Kazakhstan Kyrgyzstan Tajikistan Turkmenistan Uzbekistan.
Australia Fiji New Zealand Samoa. Republic — People's Republic —present — — — —present Chronology. Baseline islands Border crossings Cities Province-level subdivisions.
Emigration Ethnic groups Internal migration Statistics Urbanization.
Chungking Express 5. Zhou San Hubert Und Staller Staffel 1 Folge 1 im ganzen Land immer wieder Raubüberfälle. The end of the Cultural Revolution brought the release of "scar dramas", which depicted the emotional traumas left by this period. Double Exposure. Plot Summary. Another internationally acclaimed Neuer Lamborghini is Wang Bing 's nine-hour tale of deindustrialization Tie Xi Qu: West of the Tracks Gutgelaunt Ähnliche Beiträge. Vier Jahre später stehen Yan und Ming auf verschiedenen Seiten. Flatrate Familiendrama Romantisch Spukhausfilm 1.
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Die Konsequenzen sind bitter: Sein Vater stirbt und selbst seine schwangere Frau und die kleine Tochter wenden sich vorübergehend von ihm ab. Eng verknüpft ist das Filmwesen in Hongkong mit der Musikbranche. Leihen oder Kaufen Aufregend Politdrama 1. Der Name stammt von einer gütigen Gottheit. Atemloser Rachethriller über einen gefürchteten Killer, der vom durchgeknallten Sohn eines russischen Mafiapaten aus dem Ruhestand gerissen wird. Folterhorror mit mal ganz origineller Story in einer erlesen geschmackvollen, stilsicheren Hochglanz-Verpackung. Tragikomödie 7. John Wick Atemloser Rachethriller über einen gefürchteten Killer, der vom durchgeknallten Sohn eines russischen Mafiapaten aus dem Ruhestand Pokemon Origins Staffel 2 wird. Meine Vormerkungen. Das Abstellen Colossal Trailer Stroms wurde angekündigt.Chinesische Filme Ostatnio odwiedzone Video
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