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20-year-old Ruan Lingyu, a superstar during the silent film era, in Love and Duty (1931) [24]. The first truly important Chinese films were produced beginning in the 1930s with the advent of the "progressive" or "left-wing" movement, like Cheng Bugao's Spring Silkworms (1933), [25] Wu Yonggang's The Goddess (1934), [26] and Sun Yu's The Great Road, also known as The Big Road (1934). [27]
The history of Chinese-language cinema has three separate threads of development: cinema of China, cinema of Hong Kong and cinema of Taiwan. See also the categories for the cinema of Hong Kong and Taiwan
This page was last edited on 22 November 2024, at 18:22 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
In 2014 there were 5,813 movie theaters in China and 299 cinema chains, with 252 classified as "rural" and 47 as "urban". [30] Antaeus Cinema Line; Bona Cinema Line [30] China Film Group Digital Cinema Line [30] China Film South Cinema Circuit [30] China Film Stellar [30] Cinemark; CJ CGV; Dadi Theater Circuit [30] Hengdian Cinema Line [30]
Hollywood film releases were relatively rare in China up until First Blood (1982), which had its Chinese release in 1985, [27] and went on to sell 76 million tickets, the highest for a Hollywood film in China up until 2018. Zhou Enlai was released in 1992 and became China's highest-grossing film with CN¥270 million. [7]
The cinema of Hong Kong (Chinese: 香港電影) is one of the three major threads in the history of Chinese-language cinema, alongside the cinema of China and the cinema of Taiwan. As a former Crown colony , Hong Kong had a greater degree of political and economic freedom than mainland China and Taiwan , and developed into a filmmaking hub for ...
This page was last edited on 21 October 2014, at 16:20 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
Transnational Chinese Cinemas: Identity, Nationhood, Gender is a non-fiction collection of essays edited by Sheldon Hsiao-peng Lu, published in 1997 by University of Hawaiʻi Press. It discusses film from multiple territories, including Mainland China , Hong Kong , and Taiwan .