The main body of the fourth generation of Chinese directors is composed
of the graduates from the film academies in the 1960s as well as the
self-taught talents in the same period. Though they have studied in the
1960s, their talents were not brought into the play till 1977 due to
various historical reasons. Nonetheless, this experience of being
interdicted also gave them enough time to reflect and accumulate
enthusiasm.
The representatives of this generation include Wu Yigong, Wu Tianming,
Zhang Nuanyi, Huang Jianzhong and Teng Wenji. The others like Zheng
Dongtian, Xie Fei, Hu Bingliu, Ding Yinnan, Li Qiankuan, Lu Xiaoya, Yu
Benzheng, Yan Xueshu, Huang Shuqin, Yang Yanjin, Wang Haowei, Wang
Junzheng, Zhang Zi'en, Song Chong and Cong Lianwen all impressed the
audience with their works of distinctively different styles.
Due to the limitations of the time, these directors were not able to
get a touch of any other foreign movies other than those from USSR during
their university years, which later hampered their expressive methods.
However, they have also made some significant breakthroughs, directly
contributing to the revival of Chinese films in the era.
Immediately after the Cultural Revolution, they rapidly cut a figure
known as the fourth generation of Chinese film directors, injecting new
vitality to Chinese film industry. Composed of about 100 members, half the
directors from the fourth generation are still active today.
They have demonstrated steady creativity and enduring stamina. With a
widened horizon, they assimilated fresh artistic experiences, constantly
explored the characteristics of the art form, formed a link between the
preceding and following, endeavoring to reconstruct and develop Chinese
films.
They proposed that Chinese films should "throw away the walking stick
of operas", i.e., break the operatic structure and build and open one, as
well as to pursue the simple, realistic and natural style. They were good
at digging the society and life philosophy from the trivial things in
everyday life.
To some extent, the fourth generation of Chinese directors has
significantly enhanced the domestic movie industry. Besides retaining the
realistic tradition, they have also blazed a new expressive way.
They emerged with the thoughts revolution movement in China, and thus
usually express the theme of their films under the broader and more
specific social backdrop. With relatively more mature understanding and
pondering about life, they are very well equipped with a good accumulation
of knowledge, providing a great advantage for their lasting
creativity.
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