Шығыс Азия елдерінің кинематографиясы

Cinema of East Asian countries

The Cinema of East Asia is cinema produced in East Asia or by people from this region. It is part of cinema of Asia, which in turn is part of world cinema. The most significant film industries that are categorized as East Asian cinema are the industries of Mainland China, Hong Kong, Japan, South Korea, and Taiwan. The term is sometimes confused with Southeast Asian cinema, as the cinematic traditions between the two Asian sub regions have their own uniquely distinct markers that are often conflated and incorrectly referred to as such, which include the likes of Singapore, Malaysia, Indonesia, Vietnam, Thailand, and the Philippines.

Unlike the film industries in the Western world, East Asian film industries in its early days 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.

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 (1950) and Kenji Mizoguchi's Ugetsu (1953) both captured prizes at the Venice Film Festival and elsewhere, and by the middle of the decade Teinosuke Kinugasa's Gate of Hell (1953) and the first part of Hiroshi Inagaki's Samurai Trilogy (1954) had won Oscars. Kurosawa's Seven Samurai (1954) 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.

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, including 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.

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").

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, 1954), and Martin Ritt's 1964 The Outrage (based on Rashomon, 1950), continuing through present day remakes of J Horror films like Ring (1998) and Ju on: The Grudge (2002). 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).

Cai Chusheng (1906–1968) — Influential Chinese director of the 1930s and 1940s. Best known for his film Spring River Flows East, which is frequently regarded as one of the masterpieces of Chinese cinema. Chen Kaige (born 1952) — Fifth Generation Chinese film director known for films such as Farewell My Concubine, The Emperor and the Assassin, and Yellow Earth (one of the first Chinese films to compete in international film festivals after the Cultural Revolution). Jiang Wen (born 1963) — Famous Chinese actor turned director. Best known for In the Heat of the Sun and Devils on the Doorstep, which won the Grand Prize of the Jury at the 2000 Cannes Film Festival. Jia Zhangke (born 1970) — One of the most prominent Sixth Generation Chinese film directors. His most renowned works includes the highly acclaimed Platform, Unknown Pleasures, and The World. Fei Mu (1906–1951) — Pioneering Chinese director in the 1940s. Best known for the film Spring in a Small Town, which is considered by many to be the best Chinese film ever made. Lou Ye (born 1965) — Sixth Generation film director of Purple Butterfly, Summer Palace, and Suzhou River. Lu Chuan (born 1970) — Sixth Generation Chinese film director. Best known for The Missing Gun and the award winning Kekexili: Mountain Patrol. Tian Zhuangzhuang (born 1952) — One of the most prominent Fifth Generation film directors. Known for films such as The Blue Kite and The Horse Thief. Wang Xiaoshuai (born 1966) — Award winning Sixth Generation Chinese film director. Wu Yonggang (1907–1982) — Chinese director of the 1930s best known for his work with the actress Ruan Lingyu, such as The Goddess. Xie Jin (1923–2008) — Well known Chinese director during the Cultural Revolution. Notable works includes: The Red Detachment of Women, Two Stage Sisters. Yuan Muzhi (1909–1978) — Chinese director best known for the film Street Angel starring actress Zhou Xuan. Zhang Yimou (born 1950) — Fifth Generation film director known for his sumptuous visual styles and allegorical story tellings. Notable films: Red Sorghum, Raise the Red Lantern, To Live, and Hero. Zhang Yuan (born 1963) — Sixth Generation Chinese film director best known for the film East Palace, West Palace. Zhu Shilin (1899–1967) — Influential Chinese director of the early sound era.