Nhà làm phim khiến nhà kiểm duyệt phẫn nộ: ‘Cái giá mà tôi phải chấp nhận’

Wang Xiaoshuai là một trong số ít nghệ sĩ Trung Quốc từ chối đưa ra giới hạn về chủ đề hkhám phá

China’s film industry was operating under a planned economy (nền kinh tế được định sẵn) when Wang Xiaoshuai graduated from Beijing Film Academy in 1989. Only a few studios, all state-owned, were allowed to make movies.

Eager to start careers as filmmakers, Mr. Wang and some friends scraped together about $6,000, borrowed a camera and persuaded a company to give them film for free. His directorial debut, “The Days,” about a despondent artist couple, was screened at film festivals in Europe in 1994. The British Broadcasting Corporation listed it as one of the 100 best films of all time.

But the Chinese film authorities weren’t happy. They barred Mr. Wang from working in the industry because he had screened “The Days” at foreign film festivals without their permission (cho phép).

Under Mr. Xi’s leadership, there was a period of romance between China and Hollywood, culminating in the 2016 movie “The Great Wall,” directed by Zhang Yimou and starring Matt Damon. But increasingly, the “main theme films” that promote official sentiment dominate Chinese cinema. In 2022, Mr. Zhang made a movie about a Chinese sniper who killed and wounded more than 200 Americans in the Korean War, a popular genre amid worsening U.S.-Chinese relations.

“We cannot turn Chinese cinema into an outlet exclusively (cửa hàng độc quyền) for main-theme films,” Jia Zhangke, the director who made art house classics such as “Xiao Wu” and “Platform,” said in 2022. It can take two or three years for experimental films made by younger directors to obtain screening permits (xin giấy phép sàng lọc). “This uncertainty brings great anxiety to the industry,” he added. “Investors are reluctant to invest in these films, and our talent pool will encounter problems.”

source: nytimes,

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