China's movies has been wondering progressing histories to their film industry sector for many years. Starting domestic movies then expanse to a great level trough Hollywood cinema by their best actors and actress who plays in it.
Dynastic monarchies blossemed and waped repeatedly, giving way to warly warrior gods and chivalrous swordsmen. Many Wu Xia novels and films have sipped from the font of history and there is some overlap.
The early eras of Huang Di ( 2690 BC - 2590 BC ) a myhtical period where gods and deties ruled newly created Earth and the following dynasties of Tang Yao ( 2333 BC - 2234 BC ), Yu Shun ( 2233 BC - 2184 BC ) and Xia ( 2100 BC - 16O1 BC ) where basic unified character writing in pictures, ideograms and pictogranis were invented lack much filmic depiction. Motion pictures were introduced to China in 1896. The first recorded screening of a motion picture in China occurred in Shanghai on August 11, 1896, as an "act" on a variety bill. The first Chinese film, a recording of the Beijing Opera, The Battle of Dingjunshan, was made in November 1905. For the next decade the production companies were mainly foreign-owned, and the domestic film industry, centering around Shanghai, a thriving entrepot center and the largest city in the Far East, did not start in earnest until 1916. During the 1920s film technicians from the United States trained Chinese technicians in Shanghai, and American influence continued to be felt there for the next two decades.
There are some eras in China industrial film, Its starting from Shanghai in 1896-1945 as the center, then next Second Golden Age, late 1940s. In 1950-1960 is a Communist era where the government saw motion pictures as an important mass production art form and tool for propaganda. Starting from 1951, pre-1949 Chinese films and Hollywood and Hong Kong productions were banned as the Communist Party of China sought to tighten control over mass media, producing instead movies centering around peasants, soldiers and workers such as Bridge (1949) and The White Haired Girl (1950). One of the production bases in the middle of all the transition was the Changchun Film Studio. The number of movie-viewers increased sharply, from 47 million in 1949 to 415 million in 1959. Movie attendance reached an all-time high of 4.17 billion entries in that same year. Cultural Revolution and its aftermath, 1960-1980 where film industry was severely restricted. Almost all previous films were banned, and only a few new ones were produced, the most notable being a ballet version of the revolutionary opera The Red Detachment of Women (1971). Feature film production came almost to a standstill in the early years from 1967 to 1972. Movie production revived after 1972 under the strict jurisdiction of the Gang of Four until 1976, when they were overthrown. The few films that were produced during this period, such as 1975's Breaking with Old Ideas, were highly regulated in terms of plot and characterization. The rise of the Fifth Generation, 1980s-1990 were Chinese filmmakers brought increased popularity of Chinese cinema abroad. Most of the filmmakers who constitute the Fifth Generation had graduated from the Beijing Film Academy in 1982 and included Zhang Yimou, Tian Zhuangzhuang, Chen Kaige, Zhang Junzhao and others. 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 approach.The Sixth Generation and beyond, 1990s - present, some observers term 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. Owing to the lack of state funding and backing, these films were shot quickly and cheaply, using materials like 16mm film and digital video and mostly non-professional actors and actresses, producing a documentary feel, often with long takes, hand-held cameras, ambient sound; more akin to Italian neorealism and cinéma vérité than the often lush, far more considered productions of the Fifth Generation in 1990. the Sixth Generation brings a more individualistic, anti-romantic life-view and pays far closer attention to contemporary urban life, especially those affected by disorientation, rebellion and dissatisfaction with China's contemporary social tensions. Many were made at an extremely low budget (an example is Jia Zhangke, who shoots on digital video and formerly on 16mm; Wang Xiaoshuai's The Days were made on a meager US$10,000 ) and as such their films lack the rich aesthetics of the Fifth Generation.
Film arrived in China only a few months after its world premiere by the Lumière Brothers in the Grand Café in Paris on December 28, 1895. It is recorded that a few Lumière films made their Chinese debut on August 11, 1896 in Xu Garden (Xu yuan), a popular entertainment quarter in Shanghai. In the next year, American showman James Ricalton showed several Edison films in Shanghai and other large cities in China. This new medium was introduced as "Xiyang yingxi," or "Western shadow play," which related it to China's millenary-old indigenous tradition of shadow play. For many years (continued on into the 1930s), these "western shadow play" were often shown as part of a variety show, sharing the stage with traditional opera, vaudevilles, acrobatics, storytelling and other popular performances in teahouses, theater houses, and amusement parks, sometimes even on streets and as a response to the flooding of foreign films, Chinese started exploring film production of their own by drawing on the local theatrical traditions. In 1905, the owner of Fengtai Photography Studio, Ren Jingfeng (1850-1932), who studied photography in Japan, bought film equipments from a German store in Beijing and set out for the first attempt of filmmaking.
And nowadays, many of Chinese actors and actress has been becoming a famous actors and actress in Hollywood. They are not only a best actor or actress in Hong Kong ( China ) but they are became a famous star in Hollywood industrial film. Here are some of them profiles to becoming a famous star in Hollywood.
Jackie Chan
World-renowned kung-fu actor and director. Chan trained for ten years at a Peking Opera school starting at the age of seven. He worked as a stuntman for many years before getting starring roles. Snake in the Eagle's Shadow and Drunken Master propelled him to fame with the combination of humor and daring stunts that would become his trademark. He directed his first film in The Young Master and directed and scripted many of his subsequent movies. He appeared in a few American movies without much success but his Hong Kong films continued to do well. These included Legend of the Drunken Master. Project A,Police Story, Supercop. Operation Condor. and Operation Condor 2: Armour of the Gods. His first major American success came in 1996 with Rumble in the Bronx. It would be followed by Rush Hour, Rush Hour 2, Shanghai Noon, Shanghai Knights, and The Tuxedo.
Chan published his autobiography, titled Am Jackie Chan: My Life in Action, was published in 1999.
So, I think this is a new era for China's industrial film ( especially Hong Kong film star ) to reborn a new actors and actress and step follow their movie Star's film to Hollywood film industry.
Dynastic monarchies blossemed and waped repeatedly, giving way to warly warrior gods and chivalrous swordsmen. Many Wu Xia novels and films have sipped from the font of history and there is some overlap.
The early eras of Huang Di ( 2690 BC - 2590 BC ) a myhtical period where gods and deties ruled newly created Earth and the following dynasties of Tang Yao ( 2333 BC - 2234 BC ), Yu Shun ( 2233 BC - 2184 BC ) and Xia ( 2100 BC - 16O1 BC ) where basic unified character writing in pictures, ideograms and pictogranis were invented lack much filmic depiction. Motion pictures were introduced to China in 1896. The first recorded screening of a motion picture in China occurred in Shanghai on August 11, 1896, as an "act" on a variety bill. The first Chinese film, a recording of the Beijing Opera, The Battle of Dingjunshan, was made in November 1905. For the next decade the production companies were mainly foreign-owned, and the domestic film industry, centering around Shanghai, a thriving entrepot center and the largest city in the Far East, did not start in earnest until 1916. During the 1920s film technicians from the United States trained Chinese technicians in Shanghai, and American influence continued to be felt there for the next two decades.
There are some eras in China industrial film, Its starting from Shanghai in 1896-1945 as the center, then next Second Golden Age, late 1940s. In 1950-1960 is a Communist era where the government saw motion pictures as an important mass production art form and tool for propaganda. Starting from 1951, pre-1949 Chinese films and Hollywood and Hong Kong productions were banned as the Communist Party of China sought to tighten control over mass media, producing instead movies centering around peasants, soldiers and workers such as Bridge (1949) and The White Haired Girl (1950). One of the production bases in the middle of all the transition was the Changchun Film Studio. The number of movie-viewers increased sharply, from 47 million in 1949 to 415 million in 1959. Movie attendance reached an all-time high of 4.17 billion entries in that same year. Cultural Revolution and its aftermath, 1960-1980 where film industry was severely restricted. Almost all previous films were banned, and only a few new ones were produced, the most notable being a ballet version of the revolutionary opera The Red Detachment of Women (1971). Feature film production came almost to a standstill in the early years from 1967 to 1972. Movie production revived after 1972 under the strict jurisdiction of the Gang of Four until 1976, when they were overthrown. The few films that were produced during this period, such as 1975's Breaking with Old Ideas, were highly regulated in terms of plot and characterization. The rise of the Fifth Generation, 1980s-1990 were Chinese filmmakers brought increased popularity of Chinese cinema abroad. Most of the filmmakers who constitute the Fifth Generation had graduated from the Beijing Film Academy in 1982 and included Zhang Yimou, Tian Zhuangzhuang, Chen Kaige, Zhang Junzhao and others. 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 approach.The Sixth Generation and beyond, 1990s - present, some observers term 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. Owing to the lack of state funding and backing, these films were shot quickly and cheaply, using materials like 16mm film and digital video and mostly non-professional actors and actresses, producing a documentary feel, often with long takes, hand-held cameras, ambient sound; more akin to Italian neorealism and cinéma vérité than the often lush, far more considered productions of the Fifth Generation in 1990. the Sixth Generation brings a more individualistic, anti-romantic life-view and pays far closer attention to contemporary urban life, especially those affected by disorientation, rebellion and dissatisfaction with China's contemporary social tensions. Many were made at an extremely low budget (an example is Jia Zhangke, who shoots on digital video and formerly on 16mm; Wang Xiaoshuai's The Days were made on a meager US$10,000 ) and as such their films lack the rich aesthetics of the Fifth Generation.
Film arrived in China only a few months after its world premiere by the Lumière Brothers in the Grand Café in Paris on December 28, 1895. It is recorded that a few Lumière films made their Chinese debut on August 11, 1896 in Xu Garden (Xu yuan), a popular entertainment quarter in Shanghai. In the next year, American showman James Ricalton showed several Edison films in Shanghai and other large cities in China. This new medium was introduced as "Xiyang yingxi," or "Western shadow play," which related it to China's millenary-old indigenous tradition of shadow play. For many years (continued on into the 1930s), these "western shadow play" were often shown as part of a variety show, sharing the stage with traditional opera, vaudevilles, acrobatics, storytelling and other popular performances in teahouses, theater houses, and amusement parks, sometimes even on streets and as a response to the flooding of foreign films, Chinese started exploring film production of their own by drawing on the local theatrical traditions. In 1905, the owner of Fengtai Photography Studio, Ren Jingfeng (1850-1932), who studied photography in Japan, bought film equipments from a German store in Beijing and set out for the first attempt of filmmaking.
And nowadays, many of Chinese actors and actress has been becoming a famous actors and actress in Hollywood. They are not only a best actor or actress in Hong Kong ( China ) but they are became a famous star in Hollywood industrial film. Here are some of them profiles to becoming a famous star in Hollywood.
Garrett Wang
After completing college at UCLA, Wang performed in a number of theater shows before auditioning for the role of Ensign Harry Kim in Star Trek Voyager. The show ran from 1995 to 2001. He's also appeared in Ivory Tower, The Auteur Theory, and Pinata: Survival Island, a horror film.
Russell Wong
mini-series. More recently, he appeared in TV and movie actor. He started his career dancing in music videos and acting in a couple of Hong Kong movies. He starred in Wayne Wang's Eat a Bowl of Tea and appeared The Joy Luck Club. His breakthrough role came in a series of "Vanishing Son" TV movies. He also appeared in The Lost EmpireRomeo Must Die, Prophecy II, and The Tracker. An American character actor in the 1980’s and 1990’s. He often appeared in supporting roles in movies, including The Last Emperor. He was a news reporter for a San Francisco news station in the 1960’s before he started acting, when he was alrerady in his 50s.
Michelle Yeoh (Michelle Khan)
Yeoh studied dance at England's Royal Academy of dance. She was crowned Miss Malaysia in 1983. She then appeared in a number of Hong Kong movies but her big break came in 1985 with Yes, Madam. Although she hadn't received martial arts training prior to the film, she would star (and perform her own stunts) in a string of successful action films including Royal Warriors, Magnificent Warriors, Supercop,Heroic Trio. In America, she finally became a household word with Tomorrow Never Dies and Crouching Tiger Hidden Dragon. She also demonstrated her acting skills in The Soong Sisters.
Bruce Lee
Legendary martial arts actor. Bruce's parents were touring the US as part of an opera company when he was born. They soon returned to Hong Kong, where he was raised and became a child star. He also became quite skilled in kung fu. When he was 18, he returned to the US and enrolled in the University of Washington. He also started teaching kung fu to make money. By now he had developed his own style of kung fu, which he called Jeet Kune Do and opened his own school. Soon he dropped out of school and moved to Oakland to open his second school. He was cast in the role of Kato in the short-lived Green Hornet TV series. After being snubbed for the Kung Fu TV series, Bruce returned to Hong Kong where he filmed The Big Boss and Fists of Fury. He even scripted and directed his own film, Way of the Dragon (later retitled as Return of the Dragon). Hollywood finally called him back to star in Enter the Dragon, which would become the most successful; martial arts films of all time. Tragically, Bruce died of a brain edema before the movie's premiere. His wife edited Bruce's notes about his style of kung fu into a book titled Tao of Jeet Kune Do.
Jet Li
Jet was trained in wu shu from a young age, winning many national championships. His first film was Shaolin Temple, which made an instant star. He acted in a few additional Chinese movies, even directing one before hooking up with Hong Kong director Tsui Hark, who cast him in the starring role for Once Upon a Time in China. It was a huge hit that where he would star in three of its five sequels. Other film credits include Swordsman II, Fist of Legend. He starred in his first American movie with Romeo Must Die, It was followed by Kiss of the Dragon, The One, Cradle 2 the Grave.
World-renowned kung-fu actor and director. Chan trained for ten years at a Peking Opera school starting at the age of seven. He worked as a stuntman for many years before getting starring roles. Snake in the Eagle's Shadow and Drunken Master propelled him to fame with the combination of humor and daring stunts that would become his trademark. He directed his first film in The Young Master and directed and scripted many of his subsequent movies. He appeared in a few American movies without much success but his Hong Kong films continued to do well. These included Legend of the Drunken Master. Project A,Police Story, Supercop. Operation Condor. and Operation Condor 2: Armour of the Gods. His first major American success came in 1996 with Rumble in the Bronx. It would be followed by Rush Hour, Rush Hour 2, Shanghai Noon, Shanghai Knights, and The Tuxedo.
Chan published his autobiography, titled Am Jackie Chan: My Life in Action, was published in 1999.
So, I think this is a new era for China's industrial film ( especially Hong Kong film star ) to reborn a new actors and actress and step follow their movie Star's film to Hollywood film industry.
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