Mr Zhang

28 years have passed since the first collaboration between the awarded Chinese filmmaker, Zhang Yimou, and the renowned actress, Gong Li. That first movie was “Red Sorghum” - not really one of my favorites - and their successful association would become stronger in subsequent essential dramas, all of them from the 90’s, cases of “Ju Dou”, “Raise the Red Lantern”, “The Story of Qiu Ju”, “To Live”, and “Shanghai Triad”. Now, they reunite one more time in “Coming Home”, eight years after “The Curse

has the most trouble assimilating to the domestic life of servitude that is expected of her. The harsh traditions and expectations present in the manor are made clear through Yimou Zhang’s use of framing. The vastness of the manor is assumed however Zhang choses to show limited areas neatly framed in geometric symmetry. Characters in the shot are always framed within a structure of the manor and placed carefully in each frame so not to disturb the symmetry and order in each shot. The precision of the

To continue, we will be analysing a sequence of Zhang Yimou’s Hero all whilst considering its mise en scene, cinematography, editing, sound and performance. This sequence is approximately 50 minutes into the film. It takes place during the second recount of Sky, Flying Snow and Broken Sword’s supposed assassinations by Nameless: The King of Qin’s imagined version of the events. It takes place at a lake, where Nameless, whom had previously killed Flying Snow, fights Broken Sword over her death.

Color Emphasis in Raise the Red Lantern Chen Ning (Jenny) Yen 58935107 ASIA 355 Professor Rui Wang 23/11/2012 Scholars and film critiques have often regarded the fifth-generation film Director, Zhang Yi Mou’s films as a visually sensual feast (Zhu 26). The predominant use of the color Red in his highly stylized films: Red Sorghum (1988), Ju Dou and Raise the Red Lantern (1991) are evidence of his trademark visual style thus leading scholars to critically

Zhang Yimou directed both the critically acclaimed House of Flying Daggers and the visual masterpiece Curse of the Golden Flower, movies with wuxia influences which are not only popular locally, but overseas as well. Yimou infuses his films with several themes that reinforce the Chinese tradition of upholding social, political, and natural norms. Despite their differences and due to their similarities, House of Flying Daggers and Curse of the Golden Flower emphasize the importance of obeying authority

Zhang Yimou’s To Live is a powerful indictment of communist authoritarian rule and blind patriotism. The film places the viewer in the position of an insider as the Communist Revolution alters the political and social landscape of China. By using dramatic irony, Zhang Yimou appraises communist collectivist culture, class structure and power in revolutionary China, and the Cultural Revolution. In addition, by using shadow puppetry as a symbol of indoctrination, Zhang Yimou examines the link between

Third Cinema in China: Yellow Earth What is identified as 'excess' in Western cinematic experience is, therefore, precisely where we locate Third World cinema. -Teshome Gabriel The possibility of a Third Cinema in China is encouraged with Chen Kaige's 1984 film Yellow Earth. Drawing upon Teshome Gabriel's framework, a working definition of Third Cinema is possible in the case of Chinese cinema. The "fifth generation" of China's film-makers is credited in making films such as Yellow Earth

Zhang Yimou’s thrilling film Hero is both an emotional and exhilarating experience. Hero combines the use of action-packed scenes as well as a beautiful love story. Nameless, Broken Sword and Flying Snow, the main characters, team up to eventually kill the King of Qin who had murdered a number of people with the Qin army including both Flying Snow and Nameless’s father. Although the Qin army is an enemy of Broken Sword and Flying Snow’s people, it is a personal issue to assassinate the king. Throughout

However, this nonlinear explains the romance between him and Jiao Long, and why he shows up in the story. Jiao Long met Dark Cloud when she and her mother was moving to Beijing and moving across the desert where they were robbed by Dark Cloud and his men. They fall in love in desert. That is why he interrupts her wedding. After that, Jiao Long runs off from her wedding and steals the green Destiny again. Then Li Mu Bai follower into the bamboo trees where he shows his skill to be so far above here

Zhang Yimou’s Raise the Red Lantern was released in 1991 to immediate critical acclaim, despite being banned in China until mid-1992. Set in China in the 1920s, the film tells the story of Songlian, played by Gong Li, a young woman who has become the fourth concubine of the Chen clan master. In constructing the trailer for his film, Zhang uses six sequences to establish three main genres: melodrama, the spy film, and horror. This essay will discuss how the formal elements within each sequence relate