Chinese Film: The State of the Art in the People's Republic by George S. Semsel

By George S. Semsel

Chinese Film is the 1st ebook to accommodate movie within the People's Republic of China because the cultural revolution ended. during the booklet, the editor has expertly chosen articles and interviews with filmmakers in order to supply western readers a cheap view of ways motion pictures are made, and their impression in modern China. certainly, the interviews themselves catch the ambience that pervades the undefined. The filmmakers come from quite a lot of adventure and curiosity, but all agree that chinese language movie is at a cultured step forward. in addition to reading the present country of the movie undefined, Semsel contains works from the easiest younger chinese language movie students. He additionally covers movie schooling, financing, distribution, exhibition, and more.

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Sample text

It was very difficult doing film work there. Projecting films was hard enough, let alone making them. I'm from a peasant family in a mountain valley. I'd only seen one Soviet feature film. Wang Yang wanted to entertain us and decided to give us a film show, but the generator didn't work properly, so we got a truck and attached it to the generator so that at least we got it going. However, the light was sometimes strong and sometimes weak. It was very uneven. The film lasted the whole evening, and it was shown in a field, in the open air.

Finally we turned out the first documentary film with the actual sounds of the Liberation War in North China. " Qian Xiaozhang continued: "In Hegang, we all worked and studied together. We tried to form a new outlook on life by studying the Yanan Forum talks and the Party's policies. We discussed what kinds of films we should Founding of the Northeast Studio 25 make for the people. The Japanese friends were treated as equals. They lived just as we did. They went with us to the mines to learn life, and also took part in the Land Reform Movement.

Wang Jiayi recalled: "Apart from acting in the film, I had to handle all the production problems. There were three kinds of people on the film team: Japanese specialists, green hands from the Eighth Route Army, and Chinese personnel from the old Japanese Studio. Not all the Chinese in the last category had quite reformed themselves by then. In December 1948 we went to Harbin to do location shooting. We lived in a railway factory. Harbin had not been long liberated, and there were still a few prostitutes around.

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