The main body of the fourth generation of Chinese directors is composed of the graduates from the film academies in the 1960s as well as the self-taught talents in the same period. Though they have studied in the 1960s, their talents were not brought into the play till 1977 due to various historical reasons. Nonetheless, this experience of being interdicted also gave them enough time to reflect and accumulate enthusiasm.
The representatives of this generation include Wu Yigong, Wu Tianming, Zhang Nuanyi, Huang Jianzhong and Teng Wenji. The others like Zheng Dongtian, Xie Fei, Hu Bingliu, Ding Yinnan, Li Qiankuan, Lu Xiaoya, Yu Benzheng, Yan Xueshu, Huang Shuqin, Yang Yanjin, Wang Haowei, Wang Junzheng, Zhang Zi'en, Song Chong and Cong Lianwen all impressed the audience with their works of distinctively different styles.
Due to the limitations of the time, these directors were not able to get a touch of any other foreign movies other than those from USSR during their university years, which later hampered their expressive methods. However, they have also made some significant breakthroughs, directly contributing to the revival of Chinese films in the era.
Immediately after the Cultural Revolution, they rapidly cut a figure known as the fourth generation of Chinese film directors, injecting new vitality to Chinese film industry. Composed of about 100 members, half the directors from the fourth generation are still active today.
They have demonstrated steady creativity and enduring stamina. With a widened horizon, they assimilated fresh artistic experiences, constantly explored the characteristics of the art form, formed a link between the preceding and following, endeavoring to reconstruct and develop Chinese films.
They proposed that Chinese films should "throw away the walking stick of operas", i.e., break the operatic structure and build and open one, as well as to pursue the simple, realistic and natural style. They were good at digging the society and life philosophy from the trivial things in everyday life.
To some extent, the fourth generation of Chinese directors has significantly enhanced the domestic movie industry. Besides retaining the realistic tradition, they have also blazed a new expressive way.
They emerged with the thoughts revolution movement in China, and thus usually express the theme of their films under the broader and more specific social backdrop. With relatively more mature understanding and pondering about life, they are very well equipped with a good accumulation of knowledge, providing a great advantage for their lasting creativity.
Author: Jeff
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