Actualitate

Prin legi

Si prin investitzii serioase

in 1990 se care aca cinemmatografia chineza va fi stearsa d epe hrat sau va deveni asa ceva similar celei thailandeze .

Nu e cazul

printr-o combinatzie de protectzionism , politici de piatza (cine faca cea mai mare paguba nu mai ia bani de la buget) plus investiztii serioase in intr-un mix tehnologii de ultima oara pentru efecte speciale si studiouri de filmare bine dotate si accesibile ca pretz iaca ca nu e cazul

cred ca asta cale si pentru Ro daca nu vrea sa cinematografia sa ia calea flotei.
Desi daca e dupa mine si daca e sa masori nr de ore pelicula a cam luat-o

http://en.wikipedia.org/wiki/Cinema_of_China

New Chinese international cinema
Chinese films have enjoyed box office success abroad. Films such as Farewell My Concubine, 2046, Hero, Suzhou River, The Road Home and House of Flying Daggers have been critically acclaimed around the world. The Hengdian World Studios can be seen as the "Chinese Hollywood", with a total area of up to 330 ha. and 13 shooting bases, including a 1:1 copy of the Forbidden City.

In 2000, the multi-national production Crouching Tiger, Hidden Dragon achieved massive success at the Western box office despite being dismissed by some Chinese cinema-goers for pandering to Western tastes. Nevertheless, it provided an introduction to Chinese cinema (and especially the Wuxia genre) for many and increased the popularity of many Chinese films which may have otherwise been relatively unknown to Westerners.

In 2002, Hero was made as a second attempt to produce a Chinese film with the international appeal of Crouching Tiger, Hidden Dragon. The cast and crew featured many of the most famous Chinese actors who were also known to some extent in the West, including Jet Li, Zhang Ziyi, Maggie Cheung, Tony Leung Chiu-Wai, directed by Zhang Yimou. The film was a phenomenal success in most of Asia and topped the U.S. box office for two weeks, making enough in the U.S. alone to cover the production costs.

The successes of Crouching Tiger, Hidden Dragon and Hero blur what may be called the boundary between Mainland Chinese cinema and a more international-based "Chinese-language cinema". Crouching Tiger, for example, was directed by a Taiwanese director (Ang Lee), but its leads include Mainland Chinese, Hong Kong, and Taiwan actors and actresses while the film was co-produced by an array of Chinese, American, Hong Kong, Taiwanese film companies. This merging of people, resources, and expertise from three regions (China, Hong Kong, and Taiwan) seemed to imply big-budgeted Chinese-language cinema is moving toward a more international-based arena looking to compete with the best Hollywood films. Further examples of films in this mould would include House of Flying Daggers (2004), The Promise (2005) and The Banquet (2006). Tighter-financed Chinese-language cinema are still relatively localized in content, as seen in those from Hong Kong, Mainland China and Taiwan, especially in the latter two where many films have not yet found international distributors abroad.