than a few words 예스카지노 to each otherPosted by cymhmda6291 on October 5th, 2019 living in a small town, living a life where nothing changes," a woman says in a mournful voice as the camera follows her walking towards a house that is partially destroyed and almost uninhabitable. Her marriage is falling apart as well. World War II left the family financially ruined and her husband depressed, neurotic and stuck in the past.
"We never say more than a few words 예스카지노 to each other," she says. "I have no courage to die. He seems to have no courage to live."
This portrait of despair opens Fei Mu's black-and-white 1948 film, a study of frustrated desire and marital strife.
Regarded today of Chinese cinema, "Spring" was released months before the Communist Party's victory in the country's bloody civil war, and its fate would be a harbinger of what was to come.
Unlike the era's other films, which focused on leftist themes and the glory of the People's Liberation Army, Fei's melancholic character study was myopic and ideologically backward by China's new rulers, who criticized it for having a "narcotic effect" on audiences who were in need of a wartime boost. The movie was pulled from cinemas and Fei
In 1950, Mao Zedong's wife Jiang Qing, newly installed as head of the Film Agency of the Central Propaganda Department, of "rightist" filmmakers and class enemies. A former actress, Jiang recognized the power of cinema to shape -- or undermine -- the Party's message.
In particular, she targeted director Sun Yu's "The Life of Wu Xun," which told the story of a historical beggar who founded schools for poor children during the latter years of the Qing Dynasty.
Wu worked within the feudal system, promoting gradual liberal reforms, and for this was deemed anti-revolutionary and anti-Communist. For much of the next two years, denunciation of the film filled the Party press, with even Mao himself writing an editorial against it in May 1951. The campaign and left him in filmmaking purgatory.
"(The Wu Xun crackdown) was the first ideological campaign of the People's Republic," Desmond Skeel in "Censorship: A World Encyclopedia."
"From now on the emphasis would be on political struggle; there was no distinction between art and politics. Themes for films or any other medium would be laid down by the party."
of Chinese cinema, output dropped dramatically. Those films that were released stuck to the edicts that art should reflect the lives of the working classes and serve the advancement of socialism.
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