姜文 电影英文赏析

Jiang Wen

--by Zhou Yali 091230125 Jiang Wen is a film actor and director. As a director, he is grouped with the "sixth generation" that emerged in the 1990s. Jiang is also well known internationally as an actor, having starred with Gong Li in Zhang Yimou's debut film Red Sorghum (1986).

Born in Tangshan, Hebei, in a family of military personnel, Jiang relocated to Beijing at the age of ten, which has a big influence on his life and career. In 1980, he entered China's foremost acting school, the Central Academy of Drama, graduating in 1984. That same year, he started acting both on the stage (with the China Youth Theater) and in films. After appearing in many television series and films, Jiang became renowned in China for his role in the 1992 television series A Native of Beijing in New York, which made him one of the most popular actors of his generation. In addition to these he also starred in Hibiscus Town (1984), Black Snow (1990), The Emperor's Shadow (1996) and The Soong Sisters(1997). Apart from Red Sorghum, Jiang also collaborated with Zhang Yimou for the 1997 film Keep Cool.

Jiang wrote and directed his first film in 1994, In the Heat of the Sun, adapted from a novel by Wang Shuo. A tale set in the Cultural Revolution, it won for its young lead actor Xia Yu the Best Actor prize at the Venice Film Festival and garnered six Golden Horse Awards in Taiwan. Jiang's

second feature film, Devils on the Doorstep, set during the Japanese occupation of China in the early 1940s, won him the Grand Prix in the 2000 Cannes Film Festival. Jiang has also acted in television series, such as Daqing Fengyun (2006), in which he played Hong Taiji.

Here is the list of his filmography:

And the films be marked, are directed by him.

Now, we will explore the style of Jiang as a director of the 6th generation by one of his representative works--In the heat of the sun In the Heat of the Sun is an important film because its portrayal of

history and identity stands in sharp contrast to other films of the period, such as the near “epi c” frameworks used in Zhang Yimou’s To Live (Huozhe 1994) or Chen Kaige’s Farewell to My Concubine (Bawang bieji 1993). Indeed, Jiang has been described as gently mocking previous “Fifth Generation” films within the digesis.As a director, Jiang Wen stands uncomfortably between the “Fifth Generation” of graduates from the Beijing Film Academy and those filmmakers labeled as the “Sixth Generation.” The “Fifth Generation”, as Dai Jinhua states, attempted to challenge dominant Party representational and narrative codes, since their life courses had been structured by a succession of political campaigns. In contrast, members of the “Sixth Generation”had very different experiences, coming of age in the new priorities of Deng’s reforms. Consequently, these younger directors concentrate upon more contemporary issues, undisguised by historical settings, and film largely urban themes.

As a member of the “liumang generation”, too young to be sent to the countryside in the Cultural Revolution yet old enough to have knowledge of life under Mao, Jiang has experienced the Maoist past, but has not been visibly scarred by it. Instead of ten bitter years, for the children of army officers (in common with Ma Xiaojun and his creator, Wang Shuo, Jiang’s father served in the military) the Cultural Revolution was “like a rock and roll concert with Mao as top rocker and the rest of