Cinema of China - The Sixth Generation

The Sixth Generation

The post-1990 era has seen what 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 16 mm film and digital video and mostly non-professional actors and actresses, producing a documentary feel, often with long takes, hand-held cameras, and ambient sound; more akin to Italian neorealism and cinéma vérité than the often lush, far more considered productions of the Fifth Generation. Unlike the Fifth Generation, 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 16 mm; Wang Xiaoshuai's The Days were made on US$10,000) and as such their films lack the rich aesthetics of the Fifth Generation. The title and subjects of many of these films reflect the Sixth Generation's concerns. The Sixth Generation takes an interest in marginalized individuals and the less represented fringes of society. For example, Zhang Yuan's hand-shot Beijing Bastards focuses on youth punk subculture, featuring artists like Cui Jian, Dou Wei and He Yong frowned upon by many state authorities, while Jia Zhangke's debut film Xiao Wu (1997) concerns a provincial pickpocket.

As the Sixth Generation were further exposed internationally, many of their subsequent movies were joint ventures and projects with international investments, but remained quite resolutely low-key and low budget. Jia's Platform (2000) was funded in part by Takeshi Kitano's production house, while his Still Life was shot on HD interlaced video. Still Life was a surprise addition and Golden Lion winner of the 2006 Venice International Film Festival. Still Life, which concerns provincial workers around the Three Gorges region, was a vast contrast with the works the Fifth Generation Chinese directors like Zhang Yimou and Chen Kaige were directing then, like House of Flying Daggers (2004) and The Promise (2005). It featured no star of international renown and was acted mostly by non-professionals.

Many of Sixth Generation films have highlighted the negative attributes of China's entry into the modern capitalist market. Li Yang's Blind Shaft for example, is an account of two murderous con-men in the unregulated and notoriously dangerous mining industry of northern China. (Li refused the tag of Sixth Generation, although he admitted he was not Fifth Generation either). While Jia Zhangke's The World emphasizes the emptiness of globalization in the backdrop of an internationally-themed amusement park.

Some of the important Sixth Generation directors to have emerged are Wang Xiaoshuai (The Days, Beijing Bicycle), Zhang Yuan (Beijing Bastards, East Palace West Palace), Jia Zhangke (Xiao Wu, Unknown Pleasures, Platform, The World), He Jianjun (Postman) and Lou Ye (Suzhou River, Summer Palace). One young director who does not share most of the concerns of the Sixth Generation is Lu Chuan (Kekexili: Mountain Patrol, 2004; City of Life and Death, 2010).