Cultural Revolution and Its Aftermath
During the Cultural Revolution, the 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.
In the years immediately following the Cultural Revolution, the film industry again flourished as a medium of popular entertainment. Domestically produced films played to large audiences, and tickets for foreign film festivals sold quickly. The industry tried to revive crowds by making more innovative and "exploratory" films like their counterparts in the West.
In the 1980s the film industry fell on hard times, faced with the dual problems of competition from other forms of entertainment and concern on the part of the authorities that many of the popular thriller and martial arts films were socially unacceptable. In January 1986 the film industry was transferred from the Ministry of Culture to the newly formed Ministry of Radio, Cinema, and Television to bring it under "stricter control and management" and to "strengthen supervision over production."
The end of the Cultural Revolution brought the release of "scar dramas", which depicted the emotional traumas left by this period. The best-known of these is probably Xie Jin's Hibiscus Town (1986), although they could be seen as late as the 1990s with Tian Zhuangzhuang's The Blue Kite (1993). In the 1980s, open criticism of certain past Communist Party policies was encouraged by Deng Xiaoping as a way reveal the excesses of the Cultural Revolution and the earlier Anti-Rightist Campaign, also helping to legitimize Deng's new policies of "reform and opening up." For instance, the inaugural 1981 Golden Rooster Award was given to two scar dramas, Evening Rain (Wu Yonggang, Wu Yigong, 1980) and Legend of Tianyun Mountain (Xie Jin, 1980).
Most scar dramas were made by members of the Fourth Generation whose own careers or lives had suffered during the events in question, while younger, Fifth Generation directors such as Tian tended to focus on less controversial subjects of the immediate present or the distant past. Official enthusiasm for scar dramas waned by the 1990s when younger filmmakers began to confront negative aspects of the Mao era. The Blue Kite, though sharing a similar subject as the earlier scar dramas, was more realistic in style, and was made only through obfuscating its real script. Shown abroad, it was banned from release in mainland China, while Tian himself was banned from making any films for nearly a decade afterward. After the events of June 4, 1989 in Tiananmen Square, few if any scar dramas were released domestically in mainland China.
Read more about this topic: Cinema Of China
Famous quotes containing the words cultural, revolution and/or aftermath:
“If in the earlier part of the century, middle-class children suffered from overattentive mothers, from being “mother’s only accomplishment,” today’s children may suffer from an underestimation of their needs. Our idea of what a child needs in each case reflects what parents need. The child’s needs are thus a cultural football in an economic and marital game.”
—Arlie Hochschild (20th century)
“In comparison to the French Revolution, the American Revolution has come to seem a parochial and rather dull event. This, despite the fact that the American Revolution was successful—realizing the purposes of the revolutionaries and establishing a durable political regime—while the French Revolution was a resounding failure, devouring its own children and leading to an imperial despotism, followed by an eventual restoration of the monarchy.”
—Irving Kristol (b. 1920)
“The aftermath of joy is not usually more joy.”
—Mason Cooley (b. 1927)