The paper "Аsiаn Film and Mеdiа" is a great example of an assignment on media. As the china became associated with global showground of the post-cold war period, the young and energetic filmmakers, at that time saturated with the internet and personal computers, and china made ease expansion of intercontinental travels are enthusiastically cosmopolitan in their viewpoint and professional behaviour. The fifth generation of the 1980s and 1990s filmmakers benefited from the reputation of the cultural elite, more so the autonomously financed ones. There are various short-film festivals and documentaries that offer a magnificent showground with which the fifth generation did not bother.
The main historical and international awards earned by the fifth generation in the 1980s and 1990s because of the generous historical, cultural allegories and melodrama assisted Chinese cinema in the film studies curriculum especially in America (Zhen 23). The involvement of the young filmmakers changed the whole perception of modern Chinese cinema. These filmmakers opened up the space and time of the future Chinese society and its tension, and coeval relativity, with global currents. Therefore, this paper focuses on the contribution of the Chinese Fifth Generation Cinema of the 1980s and 1990s to the history, national identity, and china’ s future. Most of the Chinese films of Fifth-generation are full of Chinese festivals.
These festivals are not necessarily predestined fate of these films nonetheless. Most of these festivals embrace Chinese culture in the most plausible way. They were performed in towns where the participants were mostly of two conflicting groups exhibiting their martial art technique in dragon ceremonies, amid cosmopolitan audiences. The Tai_Chi Master (1993) JetLI is an example of the Fifth Generation film of the 1990s.
The film is centered on two characters, Junbao and his friend Timbo. At the climax of this film, in the Dynasty of Dragon, we consciously find a festival held to promote the soldiers. This is good evidence that, in Chinese culture, people valued festivals all of which celebrated for various occasions. Most of the festivals were held and organized by the most powerful people in the reign as a way of influencing the subjects. Additionally, there were other types of festivals such as second-tier festivals that permitted audience responses beyond what was usually known.
These second-tier festivals precipitated into Urban Generation online discussions which were composed of young Chinese architects and architecture Chinese students living in Diaspora – New York City. Most of these Urban Generation online discussions were center on Jia Zhangke’ s Xiao Wu where some members offered incisive and lengthy readings of the social and artistic relevance of the films. The urban Generation filmmakers distinguished themselves directly with the urbanization process. This group of Urban Generation largely contributed to the urbanization of the contemporary Chinese through subversive aesthetics of the group members.
Considering the online discussion, most of the future Chinese and Chinese- American architects wholeheartedly embraced the Urban Generation as the natural designation for the films. The introduction of different media and national boundaries contributed to the formation of the public sphere for Chinese films. Another contribution of the Fifth Generation films is the Chinese national identity. Most of the films consisted of the defined art of fighting such as kung fu and Tai chi as a form of Chinese karate widely known.
In the Tai_Chi Master (1993) Jet Li showed the advanced form of Tai_Chi in a most hilarious and thrilling way. Most of the weapons used were danger, spears, and arrows. A prowess mastery of the technique was portrayed through the trainee’ s ability to apply either Kung Fu or Tai Chi techniques in a manner in which the people of other nationalities would consider it as incredible. Chinese films are distinct from other films in the world. These films are endowed with martial art fighting, dynasty, festivals, religious rituals, and Chinese food culture.
Therefore, these films of the Fifth Generation facilitated Chinese national identity which cannot be confused with the rest of people such as Japanese. Everything is distinct. The Chinese language offers many contributions in defining national identity. Virtually, most of the Chinese films are set in a similar manner from the beginning, climax and to the end (Zhu, Ying, & Stanley 31).