Third Cinema in China: Yellow Earth Essay -- China Cinema Movies Yello

triad pic in China Yellow solid ground What is identified as excess in Western movie theatertic experience is, therefore, but where we locate Third World cinema. -Teshome Gabriel The possibility of a Third flick in China is encouraged with Chen Kaiges 1984 film Yellow body politic. skeleton upon Teshome Gabriels framework, a working definition of Third Cinema is possible in the case of Chinese cinema. The fifth generation of Chinas film-makers is credited in do films such as Yellow Earth, Fare headspring my Concubine, and The Blue Kite, as well as Raise the Red Lantern and Red Sorghum. While not either films made by the fifth generation are necessarily of a Third Cinema, many of them offer critique, get ining upon tactics to raise neighborly or political consciousness. Yellow Earth s characterization as Third Cinema lies in its aesthetic qualities, incorporation of folk art characteristics, and dispute of Western film language. Chinese Painting as Third Cinema Aesthetic Use of space is distinctive in Chinese painting, for not only is what space is occupied by an object, but more significantly the surrounding space. What, to the Western eye, may step up to be wasted or empty space, is as much a part of the entire picture than may appear to be the object of interest. Yellow Earth invokes characteristics of Chinese painting in the cinematographic style of Zhang Yimou. The use of Chinese painting characteristics contributes to Yellow Earth as interpretive program of Third Cinema in China. The use of space challenges Western convention, creating a new film grammar to code political agendas. In Yellow Earth Western Analysis and a Non-Western Text, Ester C.M. Yau notes that Classical Chinese paintings mold of nature i... ...n Chinese, the folk culture seems dated and irrelevant. Third Cinema, however, realizes the need to draw upon folk tradition. Third Cinema is not limited to those cinemas of Latin the States or Africa. It is located where challenge s to Western cinematic domination and rules are compete out. In China, the years following the downfall of the 10 year obtain of the Cultural Revolution produced a climate ripe for a politicized extremist cinema. Yet, the cinema in China remains bound to censorship and outlaw of films. The overtly politically challenging film The Blue Kite, set in the decade leading up to the Cultural Revolution, was banned and denounced by Chinese authorities. What has emerged then is the need to cause a new language for the cinema to speak with. The language of Yellow Earth draws upon Chinese art to create a new aesthetic, a Third Cinema aesthetic.