张艺谋英语作文？After 2002, the commercial film hero, which was turned into a director, broke the box office record of Chinese films twice.（2002年后转型执导的商业片《英雄》、那么，张艺谋英语作文？一起来了解一下吧。
1.比较长的The late Warring States period,the three state-owned Zhao Ming Zhen Shaquille world,they are:"sky","Can Jian","snow." Because they,the King of Qin decade,a quiet night sleep.But they are an ...
When the end song of Under the Hawthorn Tree came on, the cinema resounded with sobs and applause.
On a scale of 1 to 10, what scores did audience members give to the film?
"I'm 54 years old. I give it 10 out of 10."
"I'm 35. I give at least 9 point to this film."
"7 or 8 points I think. I'm 28 years old."
Clearly, the film seems aimed to attract mostly female audiences, especially those over 30. Here's why...
"I've read the original novel of the film. This is a very touching and romantic story. The director also did a good job of interpreting it. I couldn't help crying when I was watching it."
"This film authentically reproduces how young people in the 1970s dealt with love and relationships. This is exactly what I said and did when I was young, repressing my emotions and not daring to fall in love."
Under the Hawthorn Tree is adapted from the love story of the same name which has been a hit on the internet since 2007. The film follows Jingqiu, a girl whose family has been under close scrutiny since her father was labeled a rightist, and Laosan, a boy with a promising future from a well-to-do family. As a director born in the 1950s, Zhang Yimou lived through the Cultural Revolution and when he read the novel, he found no problem in identifying with the writer.
"This is a film about pure and beautiful love. It is a story of incompleteness that can impress the audience, and let them savour the story after watching it."
Speaking of the male audience members, especially those who didn't read the original, they don't like the film as much as the female audience.
"I think the story is a little bit too simple. The relationship ends too quickly. Hardly anything happens between the couple."
"This is not a typical Zhang Yimou film. I couldn't feel his personal emotions in it, which is a big disappointment. In addition, this kind of romantic film is never my type."
Listening to their reasons, a middle-aged audience member by their side showed understanding.
"Young people now live in an open society; they don't know why during 1970s, the characters suppressed their emotions and dared not be together. I think the film may only strike a chord with those who lived through that period of time."
Facing the pros and cons from moviegoers, Zhang Yimou's attitude was relaxed. He didn't have any expectations about what the film would make in ticket sales. As he said, different people have a different understanding of pure love, and what he can do is to give his own interpretation by the film.
For CRI, I'm Zhong Qiu.
Zhang Yimou (1950- ), Chinese motion-picture director, known for his highly visual historical dramas. Politically controversial in his native country, Zhang's films have met with enthusiastic praise abroad and have made him a leading director of the so-called Fifth Generation of Chinese filmmakers, whose careers began after the social upheaval of the Chinese Cultural Revolution (1966-1976). Born in Xi’an, China, Zhang studied filmmaking at the Beijing Film Institute with other Fifth Generation filmmakers, including Wu Tianming and Chen Kaige. Zhang began his career as cinematographer (motion-picture photographer) for such internationally acclaimed films as Huang tudi (Yellow Earth, 1984), by Chen.
Zhang made his directorial debut with Hong gao liang (Red Sorghum, 1987), which won the coveted Golden Bear Award for best picture at the Berlin International Film Festival. Set in a remote province in northern China during the 1920s and 1930s, the film is distinguished by beautiful, highly evocative images of nature and by a brilliant debut performance from Chinese actor Gong Li. Gong and Zhang subsequently developed a long, successful partnership. Zhang won the award for best director at the Cannes Film Festival for his third film, Ju Dou (1989), which was also the first Chinese film to receive an Academy Award nomination for best picture. Starring Gong as a young peasant woman who is sold to a sadistic, elderly owner of a textile factory, Ju Dou features scenes of dazzling color and a level of sensuality unusual in Chinese films. Zhang has received further international acclaim for his later films, including Da hong deng long gao gao gua (Raise the Red Lantern, 1991), Qiu Ju Da Guansi (The Story of Qiu Ju, 1992), Huozhe (To Live, 1994), and Shanghai Triad (1995). Though most of his films have found wide international distribution, Ju Dou was banned in China in 1991, as was Raise the Red Lantern.
Filmography
Hero (英雄 2003)
Happy Times (幸福时光 2000)
The Road Home (我的父亲母亲 1999)
Not One Less (一个都不能少 1999)
Keep Cool (有话好好说 1997)
Lumière and Company (1995)
Shanghai Triad (摇呀摇，摇到外婆桥 1995)
To Live (活著 1994)
The Story of Qiu Ju (秋菊打官司 1992)
Raise the Red Lantern (大红灯笼高高挂 1992)
Ju Dou (菊豆 1991)
Codename Cougar (代号“美洲豹” 1989)
Red Sorghum (红高梁 1987)
Zhang Yimou (张艺谋) is a Chinese film director, producer, and photographer who has become one of the most renowned directors in the history of Chinese cinema. Here is his biography in English:
Zhang Yimou was born in Shaanxi Province, China, on May 14, 1950. He studied at the Xi'an Film Academy in the early 1970s and quickly established himself as a rising star in the world of Chinese cinema.
His directorial debut came in 1987 with the film "Red Sorghum," which told the story of a love triangle set in rural China during the 1920s. The film was an instant critical and commercial success, establishing Zhang as a force to be reckoned with in the world of Chinese cinema.
In the following decades, Zhang went on to direct a string of highly acclaimed films that blended elements of Chinese culture with modern cinematic techniques. His films "Raise the Red Lantern" (1991) and "The Raise" (1992) were adaptations of traditional Chinese operas, exploring themes such as love, betrayal, and family drama.
In 1994, Zhang's film "The Story of Qiu Ju" won the Golden Bear at the Berlin International Film Festival, solidifying his international reputation. The film tells the story of a rural woman who embarks on a journey to seek justice after being wronged by her village.
Zhang continued to explore themes of social justice and cultural identity in his subsequent films, including "The Hero" (2002), "House of Flying Daggers" (2004), and "Curse of the Golden Flower" (2006). His films often merged elements of action, music, and visual effects with powerful narratives to create thrilling and entertaining blockbusters.
In recent years, Zhang has diversified his portfolio, producing several Broadway-bound musicals and collaborating with international talent such as Beyoncé Knowles on her music video for "Ghosts." He has also directed several operas, including a sold-out production of Puccini's "Turandot" at the Beijing Olympics in 2008.
Zhang remains one of the most respected directors in Chinese cinema today, with his films grossing billions of dollars worldwide and winning numerous awards and accolades. His work has been hailed for its masterful blend of visual style and emotional storytelling, making him one of the most sought-after filmmakers in the industry.
This biography is not intended to be comprehensive or final, as Zhang Yimou's contributions to cinema are numerous and ongoing. However, it provides an overview of his remarkable career and the impact he has had on Chinese cinema and beyond.
Zhang Yimou (born November 14, 1951) is an internationally acclaimed Chinese filmmaker and former cinematographer, and one of the best known of the Fifth Generation of Chinese film directors. He made his directorial debut in 1987 with the film Red Sorghum. One of Zhang's recurrent themes is a celebration of the resilience, even the stubbornness, of Chinese people in face of hardships and adversities, a theme which has occurred from To Live (1994) through to Not One Less (1999). His works are particularly noted for their usage of colour, as can be seen in his early trilogy (like Raise the Red Lantern) or in his wuxia films such as Hero and House of Flying Daggers.
Zhang Yimou was born in Xi'an, Shaanxi Province. As a child he suffered prejudice and derision because of his family's association with the Kuomintang (Nationalist party). His father had been a major under Chiang Kai-shek and an elder brother had followed the Nationalist forces to Taiwan after their 1949 defeat in the civil war.
When the Cultural Revolution erupted in 1966 he was forced to suspend studying and worked, first as a farm hand, and then, for seven years, as a labourer in a cotton textile mill, much like the one he portrayed in Ju Dou. During this time he took up painting and amateur still photography. He had to sell his blood for five months to get enough money to purchase his first camera when he was 18.
the Beijing Film Academy opened in 1978, Zhang was already 27, over-aged and without the prerequisite academic qualifications. He wrote a personal appeal to the Ministry of Culture, citing "ten years lost during the Cultural Revolution"[citation needed] and offered a portfolio of his personal photographic works.[3] The authorities finally relented and admitted him into the Department of Cinematography.[3]
As a result, Zhang graduated from the Beijing Film Academy in 1982 along with compatriots Chen Kaige and Tian Zhuangzhuang (the latter two from the Directing class). They are often referred to collectively as the Class of 1982.[citation needed] The students saw films by European, Japanese and American art directors, as well as Chinese—far more than any of their predecessors—including the works of Tarkovsky, Antonioni, Scorsese, Truffaut, Fei Mu, Wu Yonggang, Kurosawa, Kubrick, Malick and Alain Resnais.[citation needed]
As was the norm, Zhang and his co-graduates were assigned to small inland studios, and as a cinematographer, he began working for the Guangxi Film Studio.[3] Though penciled in to work as director's assistants, they soon learned there was a dearth of directors (owing to the Cultural Revolution), and appealed successively to make their own films.[citation needed] Zhang's first work, One and Eight (as director of photography), was made in 1984 together with director Zhang Junzhao. Zhang Yimou's input was telling: he shot from obscure angles, and positioned actors and actresses at the side, rather than center, to heighten dramatic effect, using a “unique and emphatic visual style, based on the asymmetrical and unbalanced composition of the shots and the shooting of color stock as though it were black and white".[citation needed]
Zhang's next collaboration, under director and fellow graduate Chen Kaige was to be one of the defining Chinese films of the 1980s: Yellow Earth (1984). The film today is widely considered the inaugural film for the Chinese Fifth Generation directors that were a part of an artistic reemergence in China after the end of the Cultural Revolution.
Along with his work in One and Eight, Zhang's contribution to Yellow Earth signaled a cinematic departure from the propagandist films of the Cultural Revolution.Local critics immediately sat up and took notice of this new cohort of daring artists who were defying conventions of Chinese cinema.
Zhang continued to work with Chen for the latter's next film, The Big Parade (1985). Their collaboration was one of the most fruitful of the Fifth Generation period.
以上就是张艺谋英语作文的全部内容，对我来说看满江红这部电影是有趣的英文如下：It's interesting for me to watch the movie Man Jianghong.满江红电影 《满江红》是由张艺谋执导，沈腾、易烊千玺、张译、雷佳音、岳云鹏、王佳怡领衔主演，潘斌龙、余皑磊主演。
