Cinema of China

The cinema of mainland China is a massive and diverse filmmaking industry. It represents one of three distinct historical threads of Chinese-language cinema. The other two threads are the cinema of Hong Kong and the cinema of Taiwan. Today, China serves as a global powerhouse for movie production. It is home to the largest film studios in the world. These massive complexes are known as the Oriental Movie Metropolis and Hengdian World Studios. By 2012, China had become the second-largest movie market on Earth. Only the United States held a larger share of box office receipts at that time.

Motion pictures were introduced to China very early in the history of film. Foreign exhibitors brought movies to treaty ports like Shanghai and Hong Kong in 1896. China was among the first nations to experience this new medium. This was because Louis Lumière sent a cameraman to Shanghai just one year after inventing cinematography. The first recorded screening took place in Shanghai on August 11, 1896. It was presented as an "act" within a variety bill. The first actual Chinese film was produced in November 1905 in Beijing. This film was a recording of a Peking opera titled Dingjun Mountain.

As the industry grew, filmmakers began to move away from Western styles. They started a campaign to "revive national cinema" by focusing on Chinese culture. This led to the rise of "traditional costume films" that dramatized classical romances. It also saw the growth of the Wuxia genre, which features martial arts stories. By the 1930s, the industry split along political lines due to internal conflicts. The "Left-Wing Film Movement" emerged, led by Communist-aligned literary circles. These filmmakers used a continuity style of editing to focus on realism and social issues. They produced notable films such as The Goddess and Spring Silkworms.

In contrast to the Left-Wing movement, some filmmakers promoted the "soft film" movement. This style was influenced by modernism and emphasized technical skill. Creators like Liu Na-ou focused on camerawork and editing rather than heavy narratives. They often referenced the Kino-Eye technique developed by Dziga Vertov. However, critics argued that prioritizing these aesthetics was wrong during times of political crisis. This era showed how deeply politics and art were connected in China.

In the late 20th century, the government introduced the "main melody" (zhǔxuánlǜ) genre. This term refers to a musical leitmotif, or a "theme of our times." These films are designed to invigorate national spirit and pride. They often use Hollywood-style music and impressive special effects to reach wide audiences. A key feature is the use of a "red song," which is propaganda music supporting the People's Republic of China. The government supports this genre by spending between one and two million RMB annually. Studios like the August First Film Studio produce these state-supported works. Famous examples include the ten-hour epic Decisive Engagement and The Founding of a Republic.

A different approach emerged after 1989 with the "Sixth Generation" of filmmakers. This group is often called the "return of the amateur filmmaker." Because they lacked state funding, they worked with very low budgets. They used 16 mm film or digital video to create a documentary-like feel. Their films often use hand-held cameras and ambient sound, similar to Italian neorealism. These directors focus on urban life and marginalized people. For example, Wang Xiaoshuai made his film The Days for only $10,000. Jia Zhangke explores the emptiness of globalization in his film The World.

Despite facing strict censorship, Sixth Generation filmmakers have found great success internationally. They often present an individualistic and sometimes anti-romantic view of society. While the Fifth Generation often produces lush, high-budget productions, the Sixth Generation stays low-key. Some of these filmmakers, like Jia Zhangke, have even founded their own international festivals. Their work continues to provide a sharp contrast to mainstream commercial cinema. By exploring the fringes of society, they have helped bring Chinese movies to the global stage.