Three Charming Smiles is indeed a romantic comedy about the life of the famous painter Tang Yin and his relationship with autumn perfume, while The Painted Skin is a horror film adapted from the famous short story by Pu Songling 1640-1715. Among these three films, only The Golden Eagle, shot in Inner Mongolia and tells of a woman’s resistance against the local lord, approaches films representing the minorities produced during the same period in mainland China. In real-fmovies.com you will find now the best of China come to your home now.
Grace Chang: Mambo Girl, Hair Hostess and the Wild Rose.
Another important part of Hong Kong cinema in the 1950s and 1960s was Cathay films, with films belonging to many genres: musicals, dramas, martial arts movies, horror films some of which are adapted from Pu Songling short stories published on DVD in Hong Kong, these films, however, known in France thanks to actress Grace Chang, whose films have been screened at the Cinémathèque.
Language was not distributed on DVD. Some of them like Mambo Girl Man bo nu lang, Evan Yang 1957, Hair Hostess Kong zhong xiao jie, Evan Yang 1959 and The Wild wild Rose Ye meigui zhi lian, Wang Tianlin 1960, are however today accessible in streaming.
Even if a large part of ancient Chinese films, notably Taiwanese, is still not accessible or not very accessible because genuinely disappeared or not yet disseminated by any means whatsoever pending the development of VOD 10 which shows great promise, the advances allowed by better access to films have greatly modified the field researching the history of Chinese cinema. These films are especially more usable for research than access to written sources is also become easier, including access to the Chinese Archives of the film Zhongguo dianying ziliaguan. These archives offer press articles, film posters or company documents to the public.
These materials are preserved, classified and available on microfiche. They offer, for example for cinema for years the 1930s, film reviews, manifestos linked to the birth of “films from the left”, reports from the main companies of the time, letters from directors who aim to present their film or respond to criticisms, texts on the projection conditions of first talking movies, movie theater programs. Some of these documents are published in collections such as the one entitled Le Cinéma Chinese mute which covers the years 1920-1930. The exploitation of these documents notably shed light on the conditions of the transition from silent film to talking cinema in China 12 and could help better understand, for example, how certain films were greeted by critics or by the public upon their release and how they then highlighted by film historians.
These developments give new impetus to research on Chinese cinema, as well as teachings and publications concerning it. However, it is clear that, despite progress evident in recent research by doctoral students, in the content of publications and teachings on Chinese cinema, there is still much progress to be made and areas to explore.
Some examples of lessons
What impetus does this better access to sources give to education? How to exploit these sources? Such questions deserve today to be asked in the face of the magnitude of the changes. The few examples following courses offered recently in some universities show that these developments have not always been taken into account.
