East Asian cinema

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East Asian cinema is cinema produced in East Asia or produced by people from this region. It is part of Asian cinema, which in turn is part of world cinema. World cinema is used in the English-speaking world to refer to all foreign language films.

The most significant film industries categorizable as East Asian cinema are the industries of China, Hong Kong and Japan, Taiwan and South Korea. Other countries include Mongolia, Vietnam, Singapore, North Korea and Macau. The largest markets in East Asia are China, Japan and South Korea.[1]

The terms 'Far Eastern cinema', 'Asian cinema', 'Eastern cinema' or 'Oriental cinema' are sometimes used synonymously with East Asian cinema, particularly in the United States, although their broader scope means that Asian cinema could equally well apply to the movies produced in other parts of Asia, particularly the cinema of India including the enormous Bollywood film industry.

East Asia is highlighted in green on this map, which also includes South Asia (orange) and Southeast Asia (blue).

Styles and genres[edit]

The scope of East Asian cinema is huge and covers a wide array of different film styles and genres. However, East Asian cinema shares a common cultural background and is particularly famous in the West for:

History[edit]

1890s-1950s[edit]

Unlike the European film industries, the East Asian industries were not dominated by American distributors, and developed in relative isolation from Hollywood cinema; while Hollywood films were screened in East Asian countries, they were less popular than home-grown fare with local audiences. Thus, several distinctive genres and styles developed.

1950s: global influence[edit]

East Asian cinema has - to widely varying degrees nationally - had a global audience since at least the 1950s. At the beginning of the decade, Akira Kurosawa's Rashomon and Kenji Mizoguchi's Ugetsu both captured prizes at the Venice Film Festival and elsewhere, and by the middle of the decade Teinosuke Kinugasa's Gate of Hell and the first part of Hiroshi Inagaki's Samurai Trilogy had won Oscars. Kurosawa's Seven Samurai became a global success; Japanese cinema had burst into international consciousness.

By the end of the decade, several critics associated with French journal Cahiers du cinéma published some of the first Western studies on Japanese film; many of those critics went on to become founding members of the French nouvelle vague, which began simultaneously with the Japanese New Wave.

1960s and 1970s[edit]

However, by the late 60s and early 70s, Japanese cinema had begun to become seriously affected by the collapse of the studio system. As Japanese cinema slipped into a period of relative low visibility, the cinema of Hong Kong entered a dramatic renaissance of its own, largely a side effect of the development of the wuxia blending of action, history, and spiritual concerns. Several major figures emerged in Hong Kong at this time - perhaps most famously, King Hu, whose 1966 Come Drink With Me was a key influence upon many subsequent Hong Kong cinematic developments. Shortly thereafter, the American-born Bruce Lee became a global icon.

1980s to the present[edit]

During the 1980s, Japanese cinema - aided by the rise of independent filmmaking and the spectacular success of anime - began to make something of an international comeback. Simultaneously, a new post-Mao Zedong generation of Chinese filmakers began to gain global attention. Another group of filmmakers, centered around Edward Yang and Hou Hsiao-hsien launched what has become known as the "Taiwanese New Wave".

With the post-1980 rise in popularity of East Asian cinema in the West, Western audiences are again becoming familiar with many of the industry's film-makers and stars. A number of these key players, such as Chow Yun-fat and Zhang Ziyi have "crossed over", working in Western films. Others have gained exposure through the international success of their films, though many more retain more of a "cult" appeal, finding a degree of Western success through DVD sales rather than cinema releases.

Influence and impact[edit]

As the popularity of East Asian films has endured, it is unsurprising that members of the Western film industry would cite their influences (notably George Lucas, Robert Altman and Martin Scorsese citing Akira Kurosawa; and Jim Jarmusch and Paul Schrader's similar mentions of Yasujirō Ozu), and - on occasion - work to introduce less well-known filmmakers to Western audiences (such as the growing number of Eastern films released with the endorsement "Quentin Tarantino Presents").

Remakes: East and West[edit]

Another sign of the increasing influence of East Asian film in the West is the number of East Asian films that have been remade in Hollywood and European cinema, a tradition extending at least as far back as Western remakes of Akira Kurosawa films, such as John Sturges' 1960 The Magnificent Seven (based on Seven Samurai), Sergio Leone's 1964 A Fistful of Dollars (based on Yojimbo) and Martin Ritt's 1964 The Outrage (based on Rashomon), continuing through present-day remakes of J-Horror films like Ring and Ju-on: The Grudge.

The influence also goes the other way. A number of East Asian films have also been based upon Western source material as varied as the quickie Hong Kong film remakes of Hollywood hits as well as Kurosawa's adaptations of works by William Shakespeare (The Bad Sleep Well, Throne of Blood, and Ran), Maxim Gorky (The Lower Depths) and Ed McBain (High and Low).

Prominent directors[edit]

Some of the better known figures of East Asian cinema include:

China[edit]

Hong Kong[edit]

Japan[edit]

South Korea[edit]

Taiwan[edit]

Prominent actors[edit]

See also[edit]

Further reading[edit]

Collections[edit]

References[edit]

  1. ^ Staff Reporter (16 May 2104). "The Asian films driving global box office". Film Business Asia. Retrieved 17 May 2014.  Check date values in: |date= (help)

External links[edit]