Performance Style under the Traditional Realist Director Concept of Chinese Films in the 1980s
-- Political Character under Ordinary Status
DOI:
https://doi.org/10.54097/hiaad.v4i3.19Keywords:
Chinese Movie, Farmer, Identity, Intellectual, Political Character, WorkerAbstract
Since the new era, Chinese films have been hovering between art and politics. While they are striving to find the subject status of film art, they are difficult to completely separate from politics. From 1979 to 1980, characters such as intellectuals, workers, and farmers in Chinese films lived as ordinary people in specific situations in the film, and they demonstrated the political character endowed by the times. An important feature of Chinese film performance culture under the concept of traditional realist directors is that the creation of intellectual characters has become mainstream, such as Fu Bin’s identity as an ordinary reporter in The Trill of Life (1979),Qiu Shi’s identity as an intellectual in the movie Evening Rain (1980), and group portraits of intellectuals in Legend of Tianyun Mountain (1980). Another important feature of Chinese film performance culture under the concept of traditional realist directors is the comedic expression of workers’ identity politics, such as the portraits of workers in the movies What a Family (1979) and Twins Come in Pairs (1979). Chinese film performances under the concept of traditional realist directors have also created a number of peasant images with political characters, such as the peasant group in The Plough (1979) and Jiang Maofu in Laughter in the Moon Village (1981).
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References
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