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UCSD Chinese
Cinema Web-based Learning Center
Chronologies
Timeline of Mainland Film History
- 1890s-1900s: early exhibition in Shanghai and Beijing
- 1910s: early shorts and Chinese theater tradition: Zhang Shichuan
and Zheng Zhengqiu
- 1920s early long features and genre experiments: Mingxing (family
drama), Great Wall (social films), and Minxin (art films)
- mid-1920s: Tianyi and commercial trends: opera movies, martial
arts, and Southeast Asian markets
- 1930: Lianhua and the revival of national cinema: Luo Mingyou,
Lai Man-wai, and Sun Yu
- early 1930s: transition to sound: Mingxing and Tianyi
- early 1930s: the rise of leftist film criticism and production
(Xia Yan, Tian Han, and Yuan Muzhi)
- mid-1930s: film aesthetics and soft film controversy (Liu Na'ou,
Huang Jiamo)
- 1930s: KMT censorship: against Cantonese dialect filmmaking,
leftist film activities, and Hollywood humiliating portrayals of
the Chinese
- 1937-1941: the "isolated island" in Shanghai: Zhang Shankun and
commercial filmmaking
- 1937-1945: wartime geopolitical division: Manchuria (Japanese
propaganda), Shanghai (occupation cinema), Chongqing (patriotic
war films), and Yan'an (documentary films)
- 1946-1949: postwar boom: epic films (Kunlun), humanistic dramas
(Wenhua), and KMT productions
- early 1950s: nationalization of the PRC film industry: disappearance
of private studios, political campaigns, strict censorship, and
the quota system of production
- 1950s-1960s: socialist realism (the Third Generation): class
struggle, revolutionary heroes, group identity, nationalistic sentiments,
and utopian visions
- 1966-1976: the Cultural Revolution and ultra-leftist ideology:
from zero production to the filming of revolutionary model plays
(Jiang Qing) and feature productions for internal party-line struggles
- 1977-1985: new Chinese cinema and post-Mao humanism (the Fourth
Generation): cultural reflection, ideological repositioning, and
record movie attendance
- 1980s: age of professionalization: Beijing Film Academy, Western
theory, film criticism, new film language
- 1980s: the Xie Jin model of political melodrama: historical justice,
human suffering, and subjects in subjection
- 1980s: Xi'an and Wu Tianming: "Chinese Western," entertainment
films, and art film
- 1985-1989: avant-gardism of the Fifth Generation (Chen Kaige,
Wu Ziniu, Huang Jianxi): rewriting revolutionary history, reinventing
film language, and redefining subjectivity
- late 1980s: economic reform and urban cynicism: new urban cinema,
Wang Shuo, and ideological crisis
- 1990s: state-sponsored leitmotiv films: epic revolutionary war
films, communist hagiography, and model cadres
- 1990s: the Zhang Yimou model and international prestige: from
cultural reflection to ethnographic cinema (barren landscape, primitive
passions, and female sexuality)
- 1990s: the Sixth Generation's search for "truths": from underground
(Zhang Yuan, Wang Xiaoshuai, He Yi) to marginaltiy (Guan Hu, Lu
Xuechang, Luo Ye)
- mid-1990s: import of Hollywood blockbusters and private Chinese
investment: new alliances of art, politics, and capital
- late 1990s: underground documentary filmmaking: Wu Wenguang,
Duan Jinchuan
- late 1990s: new talents and their debuts
Timeline of Hong Kong Film History
- 1909: early shorts: US-Hong Kong coproductions, Cantonese opera
- 1923: long features: Lai Man-wai, Minxin, and Shanghai connections
- early 1930s: Hong Kong's Lianhua, Grandview, and overseas market
- 1933: sound era: Tianyi and the rise of Cantonese cinema
- mid-1930s: patriotic Cantonese features
- 1937: pre-occupation era: Shanghai émigrés, the first Mandarin
films, commercial filmmaking
- 1941: Japanese occupation: no features
- 1945: postwar revival: Shanghai émigrés, the rise of Mandarin
cinema
- 1950s: urban realism: migration, unemployment, housing shortage
- 1956-1965: modernity & youth: musicals & opera movies, Cathay
versus Shaw Brothers
- 1965-1975: downs & ups of Cantonese cinema: from kungfu (Bruce
Lee, King Hu) and comedy (Michael Hui) to kungfu comedy (Jackie
Chan)
- 1980s: New Wave cinema: actions (Tsui Hark) & dramas (Allen Fong,
Ann Hui, Yim Ho)
- mid-1980s: the 1997 anxiety, identity issues, nostalgia cinema
of the second wave (Stanley Kwan)
- 1990s: transnational cinema: John Woo, Clara Law, Wong Kar-Wai
- late 1990s: new localism (Fruit Chan, Johnnie To) and blockbusters
(Media Asia, Jackie Chan)
Timeline of Taiwan Film History
- 1895-1945: Japanese occupation: a few Taiwanese productions
- 1945-1950: postwar exhibition of Shanghai and Hong Kong films
- 1950s: KMT state-own studios, Mandarin propaganda films, and
the rise of Taiwanese-dialect films
- 1960s: "wholesome realism" (CMPC), Hong Kong connections (Li
Hanxiang and King Hu), and the decline of Taiwanese-dialect films
- 1970s: melodrama (Qiong Yao), kungfu, and comedy
- 1980s: New Taiwan Cinema and rewriting Taiwan history (Hou Hsiao-hsien,
Edward Yang)
- 1987: martial law lifted: China-Taiwan relations
- 1990s: the Second Wave (Tsai Ming-liang), government film grant,
and transnational filmmaking (Ang Lee)
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