Relevant books/essays/articles:
The New Chinese Cinema: an Introduction (London: Faber & Faber, 1989)
Relevant quotes:
- "The trouble is, even “smart” people in Western countries know next to nothing about China’s modern history, and apparently lack the empathy to understand what it’s like to live in the space between authoritarian government and out-of-control profiteering. This wouldn’t matter a toss, of course, except that serious-minded Chinese filmmakers need a global audience to survive. There’s no state support for the “art” sector in Mainland cinema (both Taiwan and Hong Kong do now offer modest subsidies to selected filmmakers), and the all-powerful market with its new 18-screen multiplexes has no time for “art.” Worse, despite pressure, China still hasn’t introduced a proper ratings system—the thinking seems to be that all films should be “suitable” for all ages—while political and military censorship processes continue to exert a strong grip. Hence the need that Jia and his contemporaries have for distribution abroad. That’s getting harder to find, and less lucrative—as even the likes of Zhang Yimou have discovered. No Chinese filmmaker has been more thoughtful or adventurous in battling all these adversities than Jia Zhangke. Accepting commissions, as long as they allow him a completely free hand, is one of the main planks of his creative survival strategy. You’d think “smart” people would get it. Let’s open a parenthesis for a moment to consider the sad case of Chen Kaige. In 1988 Chen took his best film, King of the Children, to Cannes. He came away not only without a prize but also dumbfounded to discover that the huge majority of Western viewers knew nothing about the Cultural Revolution (and so weren’t able to supply the off-screen realities the film took as given) and had absolutely no sense of either the burden of China’s traditional culture or the imperative in the late ‘60s to follow a strict Maoist line. Since then, Chen has struggled in film after film to find ways of dealing with Chinese issues that will be intelligible to foreigners. He tried mythic abstraction (Life on a String, 1991), sexualized melodrama (Farewell My Concubine, 1993; Temptress Moon, 1996) and historical spectacle (The Emperor and the Assassin, 1998) before abjectly surrendering to Mammon with riffs on Billy Elliot (Together, 2002) and Lord of the Rings (The Promise, 2005). (He’s also struggled to overcome his inhibitions about dealing with sex, but that’s another story.) This sorry tale is just one of the many negative examples that Jia Zhangke has before him when he considers how to go on producing credible and innovative cinema in China. Close parenthesis." - in CinemaScope (http://cinema-scope.com/currency/currency-i-wish-i-knew-jia-zhangke-china/)
- "A dozen of the most innovative and exciting films made anywhere in the world in the last few years have come from China… These films have won Chinese cinema a much higher international profile than it has ever known before. The irony underlying these gains is that several of the ‘new wave’ films are now better known abroad than they are at home, where they have been attacked both for their failure at the box-office and for their suggestions of ideological deviation from CP orthodoxies." (from essay in Perspectives on Chinese Cinema)
Interviewed London august 2016.
