Pular para o playerIr para o conteúdo principalPular para o rodapé
Filmow
  • 23/06/2025
Tony Rayns apresenta o trabalho da "Quinta Geração" e de outros cineastas inovadores que surgiram na década de 1980 na China.

Categoria

🎥
Curta
Transcrição
00:00...brought about the new Chinese cinema.
00:30Not for the first time in China's modern history, a movement has begun in the countryside and
00:50spread to the cities.
00:52The new Chinese cinema was born in small regional film studios, far away from the main production
00:57centres of Shanghai and Beijing.
01:00The one and the eight was the film that announced the new spirit in Chinese cinema, and it came
01:04unheralded from the tiny Guangxi film studio in South West China.
01:09Its main characters are hardened criminals, convicts demanding the freedom to fight in
01:13the war against the Japanese.
01:15The film was made by a team of recent graduates from China's film school, and they set out
01:19deliberately to break new ground.
01:22Chinese audiences were not used to characters who looked or behaved like this.
01:26More importantly, few Chinese films ever had boasted such expressive colour or composition.
01:32A young man arrives in Beijing in the late 20s to earn a living as a rickshaw puller.
01:54Boy, based on a celebrated novel by Laoshe, was made in the Beijing film studio just two years
02:00before the new wave directors started working.
02:03With its beautiful period reconstruction and its finely crafted script and performances, this
02:08kind of film represented the peak of the old studio tradition.
02:15Billstard, where do they work?
02:18Two years, allow the three varieties of the old existing otro year.
02:23Billstard, who came to the beginning in the late 20th century?
02:28BOOM!
02:30Billstard, you have gone.
02:32Billstard, who came, he went behind them?
02:34Billstard, who came to the end of the morning?
02:37Billstard, who came?
02:38Billstard, who came to the next day?
02:40Rickshaw Boy was the first personal film made by the veteran director Lin Tse Fong,
02:45who plowed many of his own adolescent memories into the story.
03:10By the end, the boy has lost his home, his wife, and his rickshaw, one more victim of the old society.
03:32The final irony is that a new generation is ready and waiting to take his place.
03:40I think the future of Chinese movies, the future of Chinese movies, the future of Chinese movies,
03:47is the first generation of these young people.
03:50I was the old generation, but when I saw our next generation,
03:55there were many young people who were very smart and talented young people,
04:02such as田庄庄,陈凯歌, they were very good, and there were a lot.
04:08So I, they were very smart and talented young people.
04:15I support them.
04:16There were many people who were watching a video,
04:20who were very smart and talented young people.
04:22I think I support them.
04:26I think the young people were more capable of imagining it.
04:31Beijing today is a city very different from the one that Ling Zifong grew up in.
04:38Since the communist victory of 1949, it's been the seat of China's government
04:42and the hub of the country's cultural bureaucracy.
04:45After the long disruption of the Cultural Revolution,
04:48China's film school has been given a new permanent home here,
04:51on a site next door to the city's film studio.
04:54When its buildings are completed,
04:56the Beijing Film Academy will be one of the best arranged film schools in the world.
05:00Its reconstruction has been planned and supervised by its enlightened president,
05:04Shenzong Sheng.
05:06The academy dates from 1956,
05:09and its five departments have already trained five generations of Chinese filmmakers.
05:13It's now hard at work on the sixth.
05:15Attention tends to focus on the students of the directing class,
05:19since it's inevitably they who will do most to shape the future course of Chinese cinema.
05:23The academy's current students are a lot different from their predecessors of the fifth generation.
05:35They're much younger, too young to have been marked by the Cultural Revolution,
05:38and they have much the same tastes and interests as their contemporaries in the West.
05:42But these kids have a lot to thank the fifth generation for,
05:45especially for overturning the tradition which held that film academy graduates
05:49should serve long apprenticeships before being allowed to direct.
05:52Their tutor in the directing class is himself an active filmmaker.
05:57My name is Zheng Dongtian.
06:00He's a teacher of the Beijing Film Academy.
06:03He's a teacher of the Beijing Film Academy.
06:05He's also a teacher.
06:06I'm currently shooting my fourth video.
06:10Zheng Dongtian is unusual in that he's a teacher, a director, and a critic.
06:15Thanks to the range of his work,
06:16he has an unusually clear perspective on the changes that have overtaken Chinese cinema in the 80s.
06:21and he's a teacher of impressing the game at the 70s.
06:23The change of the Chinese cinema is almost all about them under?"
06:24He's coming from the 80s.
06:26He's coming from the 80s.
06:27The 80s.
06:28The 80s.
06:29The 80s.
06:30I've been in the 80s.
06:31He's coming from the 80s.
06:32He's coming from the 80s.
06:33He's coming from the 80s.
06:34He's coming from the 80s.
06:35Mas ainda é que eu espero que a gente se transforma em um filme,
06:39que a gente se transforma em um filme.
06:41Mas não é muito muito...
06:45... ... ... ... ...
06:47... ... ...
06:49... ...
06:51... ...
06:53...
06:55...
06:57...
06:59...
07:01...
07:03...
07:04...
07:32para que este filme se transforme em seu próprio artista.
07:36Meu nome é Chen Kai-Gue.
07:38Em 1902, eu sou a Universidade de北京 de Filho.
07:41Depois disso, eu fui à Universidade de北京 de Filho de Filho.
07:44E até hoje.
07:47As director of Yellow Earth and the Big Parade,
07:50Chen Kai-Gue has done a lot to define
07:52a form and tone of the new cinema.
07:55Eu acho que a primeira mudança é a mudança.
07:58A mudança é a mudança.
08:00Como se transformar a forma,
08:02e não se transformar a forma como se transformar a vida.
08:06Eu acho que isso é muito importante.
08:08Eu acho que a gente tem uma mudança.
08:10Eu acho que a gente tem uma mudança.
08:12Eu acho que no passado,
08:14não há mudança.
08:18Tudo é tudo bem.
08:20Então, eu não quero dizer,
08:22eu não quero dizer,
08:24eu quero dizer,
08:25eu quero dizer,
08:26eu quero dizer,
08:28é um evitamento.
08:30Eu quero dizer,
08:32eu quero dizer,
08:34eu quero dizer,
08:36eu quero dizer,
08:38O que é o problema do mundo e o mundo?
08:41O que é o problema do mundo e o mundo?
08:44O problema é o problema do mundo e o mundo.
08:47Eu acho que isso não é assim.
08:51Isso é muito importante.
08:52Yellow Earth is set in the north of Shenxi province in 1939.
09:00A taciturn widower and his two children find themselves playing host to a communist soldier
09:06who's come to their desperately poor village in search of folk songs that might be adapted into campaign songs.
09:22Um.
09:24Um.
09:25Um.
09:40Um.
09:41Um.
09:43Um.
09:45Meu nome é Zhang Yimou.
09:58Eu sou um filmador de filmes de北京.
10:02Eu sou o filmador do Rio de Janeiro do Rio de Janeiro.
10:06Eu sou o director do Rio de Janeiro do Rio de Janeiro.
10:10Da Nen Da O E
10:11Since shooting the one of the eight and yellow earth
10:16Zhang Yimou has also starred in old well
10:19and directed the prize winning red sorghum
10:21He's a maverick talent
10:22The look of yellow earth has very personal meanings for him
10:26The look of yellow earth has very personal meanings for him
10:26The idea of the painting
10:30is that I felt like I went to the Shani
10:32when I was in the Shani
10:34I felt like the Shani
10:36E aí
11:06Abertura é a base de graça, o fundo mais alto.
11:10Apesar de graça de graça, o fundo é muito alto, o fundo é um pouco de graça.
11:18A rock e a altura é um chamado de graça de graça.
11:22Eu também soube este tipo de graça, que deveria transmitir a luz e a luz.
11:29Então, a base de graça, a fundo não é a base de graça de graça à base do fundo.
11:36Então, eu acho que se pode fazer um pouco de impacto para o filme de China,
11:42especialmente para o filme,
11:44para que todos vocês percebem que muitos filmes só podem ver com a imagem,
11:48podem perceber, podem entender.
11:50Eu estou muito feliz.
11:51Eu acho que isso é uma boa coisa.
11:53A equipe de dois filmes, o Big Parade,
11:56parece que é o polo da terra.
11:59Isso mostra que os voluntários de Estados Unidos
12:00se treinando para os lugares de China, o Parade.
12:04Eu acho que o filme é que eu acho que é o exemplo de um conjunto de um dos milhares,
12:10para mostrar um tipo de pessoas,
12:15um tipo de corpo e equipe,
12:20um tipo de pessoas e sociedade,
12:22um tipo de ambiente de um conjunto, um tipo de transformação.
12:26Não vou fazer este filme como um filme sobre o filme de um dos milhares.
12:32Eu acho que mais é o filme, é o filme sobre o filme hoje em dia, eu não diria essa palavra, eu acredito que o filme tem um grande significado.
13:02Vamos lá, vamos lá.
13:32Vamos lá.
14:02Vamos lá, vamos lá.
15:02Vamos lá.
15:04Vamos lá.
15:06Vamos lá.
15:08Vamos lá.
15:10Vamos lá.
15:12Vamos lá.
15:14Vamos lá.
15:16Vamos lá.
15:18Vamos lá.
15:20Vamos lá.
15:22Vamos lá.
15:24Vamos lá.
15:26Vamos lá.
15:28Vamos lá.
15:30Vamos lá.
15:32Vamos lá.
15:34Vamos lá.
15:36Vamos lá.
15:38Vamos lá.
15:40Vamos lá.
15:42Vamos lá.
15:44Vamos lá.
15:46Vamos lá.
15:48Vamos lá.
15:50Vamos lá.
15:52Vamos lá.
15:54Vamos lá.
15:56Vamos lá.
15:58Vamos lá.
16:00Vamos lá.
16:02Vamos lá.
16:04Vamos lá.
16:06Vamos lá.
16:08Vamos lá.
16:10Vamos lá.
16:12Vamos lá.
16:14Vamos lá.
16:16Vamos lá.
16:18Vamos lá.
16:20Vamos lá.
16:22Vamos lá.
16:24Vamos lá.
16:26Vamos lá.
16:28Vamos lá.
16:30Vamos lá.
16:32Vamos lá.
17:02Vamos lá.
17:32Vamos lá.
18:02Vamos lá.
18:26Vamos lá.
18:28Vamos lá.
18:30Vamos lá.
18:34Vamos lá.
18:36Vamos lá.
18:42Vyómei é proof the foremost woman director of the fifth generation.
18:45She works for the Army's film studio in Beijing.
18:48And her first feature was this controversial picture of a young nurse
18:51torn between her emotional needs and the political and moral pressures of her job.
19:00A CIDADE NO BRASIL
19:30A CIDADE NO BRASIL
20:00A CIDADE NO BRASIL
20:04A CIDADE NO BRASIL
20:06A CIDADE NO BRASIL
20:10A CIDADE NO BRASIL
20:12A CIDADE NO BRASIL
20:14A CIDADE NO BRASIL
20:16A CIDADE NO BRASIL
20:18A CIDADE NO BRASIL
20:20A CIDADE NO BRASIL
20:22A CIDADE NO BRASIL
20:24A CIDADE NO BRASIL
20:26A CIDADE NO BRASIL
20:28A CIDADE NO BRASIL
20:30A CIDADE NO BRASIL
20:32A CIDADE NO BRASIL
20:34A CIDADE NO BRASIL
20:36A CIDADE NO BRASIL
20:38A CIDADE NO BRASIL
20:40A CIDADE NO BRASIL
20:42A CIDADE NO BRASIL
20:44Eu acho que você deve escolher uma família, mas não é muito importante.
20:49Então, eu acho que a mulher, eu acho que é um ponto mais profundo, eu não acredito que isso é um ponto de vista.
20:58Eu sou o田壮, trabalha na televisão de北京, em 1902, em 1902.
21:05Of all the young directors, Tian Zhuang Zhuang has travelled furthest.
21:17He's attached to Beijing Film Studio, but he's made most of his films elsewhere,
21:21often in the remotest parts of the country.
21:23His first important film was On the Hunting Ground, set on the plains of Inner Mongolia
21:28and dealing with the obscure workings of the code that governs Mongolian hunting.
21:35Tian dopodododododododed situation
21:44How are you going there?
21:48Where did she go to ready?
21:49Tien went on to make the equally mysterious horse thief in Tibet.
21:53As he tells it, he had more than one reason
21:56for exploring these distant territories.
21:58Sephant is a good example.
22:00One is that at Beijing at the time
22:05ainda não permitimos gravar filmes.
22:10É uma série de companhia que trabalha com uma série de filmes.
22:15Outra coisa mais importante,
22:18é que, para nós,
22:21nossos diretores,
22:23desde o ano passado,
22:25o ano passado,
22:27o ano passado,
22:29o ano passado,
22:31Horsetheif centres on a wayward buddhist tribesman who tries to expiate his sins by throwing
23:01himself into every religious ceremony in the buddhist calendar many of these
23:05Tibetan rites almost wiped out by the cultural revolution had never been seen
23:09on screen before
23:31Shantik
23:39Shantik
23:42Shantik
23:44Shantik
23:46Shantik
23:49O que é isso?
24:19O que é isso?