China
X yi dai ren (Generation X)
wu ming yi dai (a nameless generation)
"Sixth Generation"
"A Century-end Rock Scene and China's Generation X on Screen." "Generation X remains an imported term in China. Various on-line resources offer explanations in Chinese to the term, tracing its source to Douglas Coupland’s 1991 book Generation X: Tales for an Accelerated Culture. The term is translated into Chinese in two ways: one literal, X yi dai ren (Generation X), and the other descriptive, wu ming yi dai (a nameless generation)." "The Six Chronological Generations" "Following common usage in Chinese film studies, six chronological generations are used to refer to film artists of different eras: the First Generation refers to China’s pioneers of the silent films of the 1920s; the Second Generation, the Leftist filmmakers of the 1930s and 1940s; the Third Generation, mostly Yan’an-trained filmmakers who became important in the early PRC (People’s Republic of China) cinema of the 1950s; the Fourth Generation, those trained in the early 1960s but who had to wait until the post-Mao late 1970s to start making films; the Fifth Generation, the first post-Mao graduating class from Beijing Film Academy and several other young directors who joined them in the post-Mao cinematic new wave; and the Sixth Generation, also known by several other group names and including the post-1989 (Ti'an’anmen Square massacre) young film artists in an urban-focused era. ~ Harry Kuoshu, Excerpts from Generation X Goes Global Harry H. Kuoshu. Associate Professor of Chinese and Asian Studies at Furman University in Greenville, South Carolina. He is the author of Lightness of Being in China (1999), Celluloid China (2002) and Metro Movies (2011). Beijing Bastards (Beijing za zhong, 1993)
Directed by Yuan Zhang "What Have Gen X Chinese Filmmakers Been Up To in the New Century?"
As Harry Kuosho has explained, Beijing Bastards (1993) is representative of the shiji mo (century’s end) sensibility of China’s Generation X. What have China’s Gen X filmmakers been up to in the first decade of the new century? Beijing Bastards’ emphasis on youth culture in general and disaffected youth in particular—also evident in Irvine Welsh’s iconic Scottish novel Trainspotting, published the same year—has given way to the broader perspective and deeper sense of social engagement that reflects the new, rapidly changing realities of the latest phase of China’s experiment in authoritarian capitalism." ~ Robert Morace, Textbox excerpt from Generation X Goes Global Chinese Generation Xers’ Attitude toward Advertising: Evidence from Hong Kong and Shanghai Consumers
Kim-Shyan Fam a1 , Laszlo Jozsa b , Andrea Solyom c , Ernest Cyril de Run d , Hiram Ting Abstract - The purpose of this study is to examine ChineseGeneration Xers’ attitude toward advertising and whether theranking for ad likeability and dislikeability attributes are thesame across Hong Kong and Shanghai. A telephone interviewof 200 respondents in each city was conducted using a strategyof matched samples. The results show that the respondentsfrom both cities find advertising ‘interesting and entertaining’,but ‘devious’. In terms of likeable attributes, they like‘entertaining’, while ‘style’ is the most disliked attribute. Themain difference between the two groups was found in attributerating. The study concludes by offering several explanationsfor these variations |
Shanghai Baby by Mian Mian
Mian Mian, Candy
Wang Shuo, Playing for Thrills (1989)
Film: Stolen Life (Li Shaohong, 2006)
Film: Lost in Beijing (Li Yu, 2007)
Film: In Love We Trust (Wang Shaoshuai, 2007)
Film: The World (2004)
Film: 24 City (2008)
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For Further Reading:
Chow, Rey. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. New York: Columbia University Press, 1995. Print.
Dai Jinhua. Wuzhong fengjing: Zhongguo dianying wenhua 1978-1998 [Foggy Sceneries: Chinese Cinematic Culture, 1978-1998]. Beijing: Beijing daxue chubanshe, 2000. Print.
Dai Jinhua. “Geren xiezuo yu qingchun gushi” [Personal Writing and Story of Youth]. Dianying yishu 3 (1996): 10-12. Print.
Han Xiaolei. “Dui diwudai de wenhua tuwei: Hou wudai de geren dianying xianxiang” [Going beyond the Fifth Generation Culture: Post-Fifth Generation Individual Filmmaking].Dianying yishu 2 (1995): 58-63. Print.
Holtz, Geoffrey T. Welcome to the Jungle: The Why behind “Generation X.” New York: St. Martin’s Press, 1995. Print.
Huang Shixian. “Yishixingtai zhenghou: Wang Shuo shi ‘fanban wenhua’ de shimaoxing yu huihuaixing” [Ideological Symptom: On Wang Shuo’s “Anti-Culture” Style]. Dianying yishu 6 (1989): 41. Print.
Li Yiming. “Shiji zhimo: Shehui de daode weiji yu diwudai dianying de shouzhong zhengqin, shang” [Century’s End: Ethic Crisis and the End of the Fifth-Generation Filmmaking, Part I]. Dianying yishu 1 (1996): 9-13.
--- . “Shiji zhimo: Shehui de daode weiji yu diwudai dianying de shouzhong zhengqin, xia” [Century’s End: Ethic Crisis and the End of the Fifth-Generation Filmmaking, Part II]. Dianying yishu 2 (1996): 24-28.
Link, Perry. “The Old Man’s New China.” New York Review of Books 9 (June 1994): 31–36. Print.
Minford, John. “Picking Up the Pieces.” Far Eastern Economic Review 8 (August 1985): 30. Print.
Ning Dai. “Beijing zazhong juqing jianjie” [A Synopsis of Beijing Bastards]. Dianying gushi 5 (1993): 9. Print.
Rushkoff, Douglas. The GenX Reader. New York: Ballantine Books, 1994. Print.
Wallace, Claire and Sijka Kovatcheva. Youth in Society: The Construction and Deconstruction of Youth in East and West Europe. New York: St. Martin’s Press, 1998. Print.
Wang Yichuan, “‘Wudai qi’ zhongguo dianying” [Chinese Film in a Non-Generational Era]. Dangdai dianying 5 (1994): 20-27. Print.
Wang Yuechuan, Houxiandai houzhimin zhuyi zai Zhongguo [Post-modernism and Post-colonialism in China]. Beijing: Shoudu shifan daxue shubanshe, 2002. Print.
Dai Jinhua. Wuzhong fengjing: Zhongguo dianying wenhua 1978-1998 [Foggy Sceneries: Chinese Cinematic Culture, 1978-1998]. Beijing: Beijing daxue chubanshe, 2000. Print.
Dai Jinhua. “Geren xiezuo yu qingchun gushi” [Personal Writing and Story of Youth]. Dianying yishu 3 (1996): 10-12. Print.
Han Xiaolei. “Dui diwudai de wenhua tuwei: Hou wudai de geren dianying xianxiang” [Going beyond the Fifth Generation Culture: Post-Fifth Generation Individual Filmmaking].Dianying yishu 2 (1995): 58-63. Print.
Holtz, Geoffrey T. Welcome to the Jungle: The Why behind “Generation X.” New York: St. Martin’s Press, 1995. Print.
Huang Shixian. “Yishixingtai zhenghou: Wang Shuo shi ‘fanban wenhua’ de shimaoxing yu huihuaixing” [Ideological Symptom: On Wang Shuo’s “Anti-Culture” Style]. Dianying yishu 6 (1989): 41. Print.
Li Yiming. “Shiji zhimo: Shehui de daode weiji yu diwudai dianying de shouzhong zhengqin, shang” [Century’s End: Ethic Crisis and the End of the Fifth-Generation Filmmaking, Part I]. Dianying yishu 1 (1996): 9-13.
--- . “Shiji zhimo: Shehui de daode weiji yu diwudai dianying de shouzhong zhengqin, xia” [Century’s End: Ethic Crisis and the End of the Fifth-Generation Filmmaking, Part II]. Dianying yishu 2 (1996): 24-28.
Link, Perry. “The Old Man’s New China.” New York Review of Books 9 (June 1994): 31–36. Print.
Minford, John. “Picking Up the Pieces.” Far Eastern Economic Review 8 (August 1985): 30. Print.
Ning Dai. “Beijing zazhong juqing jianjie” [A Synopsis of Beijing Bastards]. Dianying gushi 5 (1993): 9. Print.
Rushkoff, Douglas. The GenX Reader. New York: Ballantine Books, 1994. Print.
Wallace, Claire and Sijka Kovatcheva. Youth in Society: The Construction and Deconstruction of Youth in East and West Europe. New York: St. Martin’s Press, 1998. Print.
Wang Yichuan, “‘Wudai qi’ zhongguo dianying” [Chinese Film in a Non-Generational Era]. Dangdai dianying 5 (1994): 20-27. Print.
Wang Yuechuan, Houxiandai houzhimin zhuyi zai Zhongguo [Post-modernism and Post-colonialism in China]. Beijing: Shoudu shifan daxue shubanshe, 2002. Print.
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