NZ Chinese Film Week: A Journey of Progress

"Chinese films in late 2022 can be seen as a hybrid entity navigating between online short videos, TV dramas or web series, and second-rate literature. The violent elements of Chinese films blend elements of heroism from pre-1966 Chinese films, Hollywood storytelling techniques, and the tradition of Hong Kong action movies. This heroism emphasizes collectivism, with plots featuring minor climaxes and major turning points, extending the Hong Kong film tradition to the southern hemisphere as Chinese films expand toward Southeast Asia.

In recent years, there has been a shift in Chinese films regarding military characters, where pacifism prevails in violent films. Themes of rescue have replaced themes of suppression or triumph, and protagonists have transitioned from military or law enforcement personnel to more neutral, civilian roles such as doctors, officials, journalists, and more. One possible future change this might bring about is the separation between diplomacy and united front work within China. If diplomats engage in united front activities, both departments might feel some unease. I cannot predict the exact transformation of protagonists or narrative as pacifism further expands within violent films. It is worth respecting the fact that films worldwide promote peace through violence, a principle that Chinese films have consistently adhered to in practice.

In reality, I have personally encountered Ukrainian overseas Chinese/students who urgently evacuated from China this year and received significant assistance from the embassy. This is a complex reality beyond what films portray. Disciplinary boundaries in the field of diplomacy also exist, and the stories behind them take years to unfold.

While it may not be a solution to always have these stories set in Africa or the broader southern hemisphere, it seems that portraying events in the northern hemisphere might be more complicated. Prior to the situation in Ukraine, there was the South Union more than twenty years ago, which may have been too complex to be depicted in films. When Africa is often mentioned, the perceptions of African people are quite complex, and they have expressed their feedback to China through diplomatic channels. This concept of the "faraway" both originates from the public and is strongly constructed by films. It remains somewhat rigid, and although films can be entertaining and lively, filmmakers still need to strive harder to create films that move away from these stereotypical concepts of the "faraway."

The above analysis pertains to the male aspects of Chinese films or the portions where the audience overlaps with online short videos. The following paragraph delves into the female aspects or the portions where the audience aligns with TV dramas.

Throughout the history of Chinese cinema, martial arts films have been powerful and served as a primary vehicle for patriotism. However, they have always taken second place to family and ethical dramas in terms of production quantity, box office totals, and historical continuity. Although not as apparent in the past three to four decades due to the role TV dramas played in constructing family ethics and soothing emotions, family and ethical dramas have made a comeback in theatrical films. This resurgence can be attributed to improved performances, script revisions, and the turbulence caused by TV dramas shifting from television platforms to online platforms.

One characteristic of performances is the mix of professional and non-professional actors. If the previous generation of Chinese art films saw significant contributions from non-professional actors over two decades ago, the defining characteristic of this generation is that the sincerity of professional actors surpasses their technical expertise. Such performances are in line with the international trend, where European films in the past twenty years have featured highly professional actors in realistic roles, and American films utilize stage actors to play superheroes on green screens. It is a challenging task for professional actors to interact with non-professional actors, similar to a person from the 20th century explaining things to someone from the 18th century or trying to assimilate into the lifestyle of the 18th century. Professional actors have to let go of many things, but that doesn't mean there is no acting left. Non-professional actors also make significant efforts, although those efforts cannot be easily articulated or summarized.

One of the challenges with scripts is achieving sincerity. Sincerity requires time to acquire, which is why this style doesn't align with the format of short videos. TV dramas allow audiences to immerse themselves over an extended period, while films, with their limited 90-minute runtime, can feel rushed. At this point, the precise collaboration between screenwriters and directors, as well as the duration the script has been marinating in real-life experiences, become crucial. Assuming the expressive abilities of the screenwriters and directors are above average, the time they invest can be "averaged" and perceived by the audience. This perspective doesn't quite conform to the capitalist notion of time is money, but the construction of ethics in real life often takes a decade, which is undoubtedly an anti-capitalist calculation.

In recent years, family and ethical films have demonstrated a middle-class inclination. This inclination contrasts the call for overseas Chinese to return to the homeland in violent films and reflects the confusion of those who have ventured out, such as whether their youth in China was more beautiful, how ethics can be rebuilt after severing blood ties, and whether the encouragement of assimilating into local cultures in naturalized territories has been effectively implemented

While these reflections and considerations are important, they might seem fantastical to the majority of the middle-class audience, given the ongoing sinking of the film market. Therefore, within the genre of domestic family and ethical films, we see some designs rooted in the lower strata, featuring characters like elementary and middle school teachers living in old dilapidated homes, funeral workers, couriers in rented apartments, and elderly migrant workers in large cities preparing to return to their hometowns. These are individuals who have not obtained middle-class status. This aligns with the traditional approach of Chinese family and ethical films, which were previously made for textile workers or small tobacco and alcohol vendors. Audience members who have more knowledge and social resources typically watch imported films, primarily American films. After going abroad, these individuals may develop an appreciation for domestic family and ethical films, a form of homesickness.

As a genre, family and ethical films receive more attention from female audiences, and the proportion of female filmmakers is higher. In this film week, we have Li Shaohong, Yang Lina, and Mai Xiyin representing these different inclinations within the Chinese film industry, including those within the system, outside the system, and those extending to a broader and inclusive spectrum of resources.

Chinese films, in my understanding, primarily refer to films with dialogue in Chinese. It becomes challenging to use written language in this context, as many films have Chinese subtitles. Chinese, in a narrow sense, refers to the Chinese language, while in a broader sense, it can encompass other languages within the Chinese-speaking world, such as Tibetan, which is included in the selection and awards of the Golden Horse Awards as a broader concept of Chinese language. Academically speaking, the classification of the Sino-Tibetan language family is problematic in modern language classification, with several classifications such as the Altaic language family or the Trans-New Guinea family in Inner Asia being rather tenuous. From a practical perspective of living languages, for example, Li Ruijun's film "Walking on the Wild Side" in recent years portrays characters and stories of the Yugur ethnic group, with only 60,000 people living in the same county. Their language is further divided into eastern and western dialects, with the eastern dialect having some Mongolic influences and the western dialect being purely Turkic. They can communicate with each other without any difficulties. The Yugur ethnic group is a Chinese-specific ethnic group, and although their language is not Chinese, it falls under the umbrella of Chinese or the Chinese-speaking world without any issues. Differentiation is necessary, but inclusiveness and interconnectivity are equally important. Similarly, the overseas community using Teochew language may outnumber the local community, but Teochew is still considered a Chinese language. Moreover, the Chinese language has a broader signifié than its signifié. There are many ambiguities and characteristics in its signifié that transcend geographical or temporal boundaries. This final sentence might be somewhat challenging to translate. In simple terms, it means that the Chinese language, as a living language, is evolving and expanding its definition and should be understood in a broader context. The assimilation and exchange of different cultural and linguistic elements are essential.

In recent years, new immigrants from the Chinese diaspora have produced numerous short films, many of which were filmed in their ancestral homes, but an equal number were filmed in their current settlements. From an intergenerational and class perspective, these new immigrants belong to the broader second generation of the reform and opening-up era. They have benefited from assets or policies in their ancestral homes while also establishing new careers in their current settlements. Their parents primarily engaged in industry and management, and the second generation, driven by internal family rebellion or ethical resistance, extensively pursued cultural and artistic careers. As they are relatively young, some are still students, their reflections on their ancestral homes often carry the perspective of minors, and their reflections on their current settlements are often discussed among peers rather than with a vertical lineage like a family tree. In the short films of new immigrants, spiritual confusion is a significant topic, which is easily understood from the perspectives of age, upbringing, and complete change of living environment. Moreover, short films serve as an important channel for relieving spiritual perplexity.

The boundaries of Chinese cinema have always been fluid, and its core has been tumultuous. It cannot be encapsulated by a single genre or ideology. This dynamic state sometimes creates communication barriers because everyone understands according to certain patterns, and if development occurs too rapidly, it might deviate from understanding and hinder communication. However, every industry requires renewal and vitality. In recent years, films, like other industries, have faced challenges but continue to move forward with determination."

Testimonial: "Chinese Film Week in New Zealand provided a fascinating and diverse selection of films that allowed me to explore the vibrant world of Chinese cinema. From the explosive action of '万里归途' to the introspective exploration of family dynamics in '春潮,' each film offered a unique perspective and immersed me in the rich tapestry of Chinese culture. It was an enlightening and enriching experience that truly showcased the power and creativity of Chinese filmmakers. I can't wait to see what the future holds for Chinese cinema!"

- Professor Zhang Xianmin, Film Enthusiast, October 2022, Haoling