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Film-making in China: From the Cultural Revolution to 1981

Published online by Cambridge University Press:  17 February 2009

Paul Clark
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Extract

It is difficult to be objective about the Cultural Revolution. Difficulties were encountered during the event itself (which is variously defined as the years 1966–69 or, less usefully, the whole period 1966–76) by its proponents and its victims. With the reversal of the political fortunes of the victims, objectivity seemed even more unlikely. But as 1976 (or 1969) moved further into the past, even in China a more measured assessment of the significance of the Cultural Revolution and its aftermath began to be made at all levels (both official and unofficial) of the political public.

Type
Research Article
Information
The China Quarterly , Volume 94 , June 1983 , pp. 304 - 322
Copyright
Copyright © The China Quarterly 1983

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References

1. For typical critiques of Beiguo jiangnan see Renmin ribao (People's Daily), 30 July 1964, p. 6; 15 August 1964, p. 5; 30 August 1964, p. 7; 6 September 1964, p. 7. A ludicrous parallel with the Wu Xun zhuan campaign was the sending of an investigation team to the district in which the film is set. Wu Xun had actually lived in the district investigated by Jiang Qing and others in 1951. The Renmin ribao prefaced the Beiguo jiangnan report by admitting the problems of investigating the settings of fiction; Renmin ribao, 15 November 1964, p. 5. Typical articles on Zaochun eryue can be found in Renmin ribao, 15 September 1964, p. 6; 22 September 1964, p. 5; 8 November 1964, pp. 6–7; 11 November 1964, p. 5.

2. Zhou Yang was an exception in the four, having been a critic of many in 1930s Shanghai Leftist literary circles, and an eager proponent of Mao's Yan'an Talks in the 1950s.

3. See, for example, Renmin ribao, 19 April 1966, p. 6; Jiefangjun wenyi (Liberation Army Literature and Art), No. 10 (05 1968), pp. 17–23Google Scholar.

4. For a critique of Da Li, xiao Li he lao Li see Dazhong dianying (Popular Film), No. 6 (06 1966), pp. 34–35Google Scholar.

5. See, for example, Wenyi bao (Literature and Arts Gazette), No. 7 (07 1965), pp. 19–34Google Scholar.

6. Evidence on these events was presented in December 1980 at the trial of the “gang.”

7. Ironically some Japanese critics see May 4th adaptations like Zaochun eryue as creating a Chinese cinema style; interview with Yang Yanjin, Shanghai, December 1980.

8. These included Dilei zhan (Mine Warfare), Didao zhan (Tunnel Warfare), and Nanzheng beizhan (Fighting North and South), 1952 version; Renmin ribao, 6 January 1970, p. 4; 9 January 1970, p. 4; and interview with Sun Daolin, Shanghai Film Studio, December 1980.

9. See, for example, its publication in Jiefangjun wenyi, No. 7 (06 1967), pp. 20–22Google Scholar.

10. Renmin ribao, 30 September 1970, p. 2.

11. This formula is cited, for example, in reviews in Renmin ribao, 4 November 1970, p. 4 and Guangming ribao (Enlightenment Daily), 12 July 1972, p. 3.

12. Renmin ribao, 6 February 1971, p. 4; Chinese Literature, No. 9 (09 1971), pp. 99–111Google Scholar.

13. Interview, Shanghai Film Studio, December 1980.

14. Xie Tieli's career is outlined in Dazhong dianying, No. 1 (01 1979), pictorial page opposite p. 17Google Scholar.

15. Cheng Jihua, in an interview in Beijing, November 1980, claimed that Zhencha bing (The Scout) was the first new fiction film.

16. The release of these new films was reported in Renmin ribao, 20 January 1974, p. 1. They are described in Chinese Literature, No. 4 (04 1974), pp. 102–104Google Scholar.

17. Interview at Beijing Film Academy, Zhuxinzhuang, Beijing, November 1980.

18. Both had been criticized during the Cultural Revolution.

19. Interview at Film Research Institute of Ministry of Culture, Literature and Art Research Academy, Beijing, November 1980.

20. The Haixia episode is described, among other places, in Renmin dianying, No. 1 (01 1978), pp. 12–15Google Scholar; Renmin dianying. No. 2–3 (02–03 1978), pp. 30–37Google Scholar; Renmin dianying, No. 5 (05 1978), pp. 16–17Google Scholar.

21. See Sang Hu's article on the film translated in Chinese Literature, No. 7 (07 1972), pp. 96–99Google Scholar.

22. English translation from Chinese Literature, No. 1 (01 1977), p. 1Google Scholar. The directive is dated 25 July 1975.

23. The script of Baoziwan zhandou (Battle of Leopard Valley), for example, based on a 1964 play about a Nanniwan-type production movement in the War of Resistance, had been drafted in 1973. It went through 10 revisions in four years, the last extending from March 1977 to January 1978; Renmin dianying, No. 4 (04 1978), pp. 14–17Google Scholar. For another example, see Renmin dianying, No. 8 (08 1978), pp. 13–14Google Scholar. In early 1979 there were only 40 or so trained script writers in the then seven fiction film studios; Renmin ribao, 12 March 1979, p. 3. To fill the film gap a great many pre-1966 films were re-released in 1977–79.

24. See, for example, Renmin dianying. No. 8 (08 1978), p. 13Google Scholar; Renmin dianying, No. 9 (09 1978), pp. 2–3Google Scholar; Renmin dianying, No. 1 (01 1978), p. 14Google Scholar.

25. See, for example, Dazhong dianying. No. 3 (03 1979), pp. 4–5Google Scholar; Renmin ribao, 31 January 1979, p. 3. For another view, see an article by Jinguo, [Wang] in Dianying wenhua (Film Culture), No. 1 (04 1980), pp. 49–56Google Scholar.

26. Dazhong dianying, No. 4 (04 1979), p. 3Google Scholar; Renmin ribao, 12 March 1979, p. 3.

27. Renmin ribao, 21 January 1979, p. 3; also in Dianying yishu (Film Art), No. 1 (01 1979), pp. 28–33Google Scholar.

28. See, for example, Renmin ribao, 14 May 1979, p. 3; Renmin ribao, 17 December 1979, p. 3; Dazhong dianying, No. 10 (10 1979), pp. 4–7Google Scholar.

29. Dianying yishu, No. 1 (01 1979), pp. 1–14, esp. p. 9Google Scholar. For a partial English translation, see Chinese Literature, No. 6 (06 1979), pp. 83–95Google Scholar.

30. Renmin ribao, 14 May 1979, p. 3.

31. Renmin ribao, 8 October 1980, p. 5. For an English translation, see Chinese Literature, No. 1 (01 1981), pp. 107–111Google Scholar.

32. Dianying yishu, No. 12 (12 1980), pp. 1–3Google Scholar; Dazhong dianying, No. 12 (12 1980), p. 1Google Scholar.

33. Wenyi bao, No. 5 (03 1958), pp. 23–24Google Scholar.

34. Renmin ribao, 30 July 1980, p. 5. For Hua's, Bai response, see Renmin ribao, 3 09 1980, p. 5Google Scholar.

35. Dazhong dianying, No. 10 (10 1980), pp. 1–5Google Scholar.

36. For a brief outline of Hua's, Bai life, see Shikan (Poetry Magazine), No. 7 (07 1981), p. 7Google Scholar. A writer in the Hong Kong magazine Qishi niandai (The Seventies), No. 145 (05 1982), p. 13Google Scholar, claims Bai Hua was sent in 1961 to script-writing work at the Haiyan Film Studio in Shanghai.

37. The film ends, however, as it begins, with a flight of wild geese in the form of the ren (human) character. The Hong Kong magazine Zhengming (Debate), No. 44 (06 1981), pp. 82–98Google Scholar reprinted the script of Kulian, originally published in Shiyue (October), No. 3, 1979. Colour pictorial presentation of Kulian, a usual preliminary to forthcoming release of a fiction film, was made in Dazhong dianying, No. 9 (09 1980)Google Scholar.

38. The April article was reprinted in the Hong Kong magazine Dongxiang (Direction), No. 32 (05 1981), pp. 10–13Google Scholar.

39. Beijing wanbao, 8 May 1981, p. 3. The criticism of Kulian had provoked protests by students at Beijing and Fudan Universities. What the reports on Bai Hua's condition did not describe was his film script project of the summer of 1981. Set in the Spring and Autumn period (722–418 B.C) and drawn from the Annals of Wu and Yue (Wuyue chunqiu), the new film idea contrasts the careers of two loyal ministers to Goujian, the king of Yue. After helping expel the forces of the Wu state, one minister, Fan Li, withdraws from public life, acknowledging loyalty to himself over that to his king. Wen Zhong, on the other hand, sees loyalty to the state as outweighing the insults he must bear to remain in the court of the king of Yue.

40. Shikan, No. 7 (07 1981), p. 7Google Scholar. His poem was one of eight prizewinners classified as “political lyrics” (zhengzhi shuqingshi). Titled “Chunchao zaiwang” (“The spring tide is in sight”), it had been published in Renmin ribao, 17 March 1979, p. 6.

41. Excerpts from Hu's speech were reported in Zhengming, No. 46 (08 1981), p. 16Google Scholar.

42. Hongqi (Red Flag), No. 23 (1 12 1981), pp. 2–22Google Scholar.

43. The article was reprinted in Renmin ribao, 7 October 1981, p. 5. Peng Ning was now named as co-author of Kulian. A reported change of People's Daily editors was linked with the earlier non-publication by the newspaper of the April Jiefangjun bao article.

44. Hongqi, No. 19 (1 10 1981), pp. 29–33Google Scholar.

45. See Renmin ribao, 24 December 1981, p. 4. The letter, dated 25 November, was published the previous day in Jiefangjun bao, and in the January 1982 issue of Wenyi bao.

46. Guangming ribao, 30 December 1981, p. 1. Attention in the media by this time had turned to concern at the strong emphasis on love in films and literature of recent years.