What is the future of Chinese disaster films.
(The film is the first to come out of a partnership between IMAX Corp. from the United States and the film's Chinese producer, Huayi Brothers, and is IMAX's first commercial movie produced outside of their home territory according to The Wall Street Journal. It is playing on more than a dozen IMAX screens across China and Hong Kong. The deal between IMAX Corp. and the Huayi Brothers’s extends to two more Chinese language films, yet to be announced.
As the first Chinese film to be seen on IMAX screens, "Aftershock" represents IMAX’s physical as well as financial expansion into China. With the film's success, IMAX Corp. expects to have 57 screens in operation by 2012.
Feng said to Xinhua, “Having IMAX’s support is a ‘strong and powerful’ advancement for the country’s movie industry,” which is still in its early stages with a handful of directors like Feng receiving international recognition.
“Aftershock” is already released in mainland China, Hong Kong, Australia, New Zealand and Singapore and will continue to roll out in other parts of Asia and the United Kingdom over the next few months. No release date has been set for the film’s debut in the United States.)
Shooting in scene and technology using is generally the weakest section of the Chinese disaster film."Aftershock "successful bringing IMAX technique to Chinese disaster films is a historic breakthrough.Focus on how to display great script though high-tech which bring from film developed country like US,UK.Combination story and picture create more and more particular disaster films which the Chinese culture are inside.Finally films will be recognized by all over the world.
Shooting in scene and technology using is generally the weakest section of the Chinese disaster film."Aftershock "successful bringing IMAX technique to Chinese disaster films is a historic breakthrough.Focus on how to display great script though high-tech which bring from film developed country like US,UK.Combination story and picture create more and more particular disaster films which the Chinese culture are inside.Finally films will be recognized by all over the world.
Read more: Feng Xiaogang’s “Aftershock” sets new Chinese box office record | CNNGo.com http://www.cnngo.com/shanghai/play/aftershock-shakes-chinese-box-office-setting-new-record-841349#ixzz16p24AQtR
2.What do disaster movies tell us about the culture (American, Chinese) that created them?
(Aftershock is layered in melodrama but manages to straddle the line of good taste thanks to the talented cast. Even when the plot seems to take an unnecessary twist into unwanted pregnancy, the actors pull the film back down from the stratosphere through sheer will of performance. For a storyline so fraught with suffering and intrigue, it’s always made real, always believable. Daoming Chen, who plays a loving foster father, is in particular one of the best in the film. He is a recognizable figure as the doting understanding father, yet suffers from his own demons as he lets his child drift away for years. Ni Yuan, the mother, is another complex character, one who begs to care for her baby but years later refuses to extend the same courtesy when the tables turn. These flawed heroes are one of the great strengths of Aftershock, and help audiences connect to a foreign culture easily misunderstood by Western.
One such element is a common theme throughout the film: guilt. Deep, resentful, painful familial guilt is a cornerstone of the film and subtly invades every scene. The photos of the dead hang in black and white frames behind the characters as they speak, lurking like remembered ghosts from the past, ever-watching, ever-judging. The mother, Ni Yuan refuses to move from their old home. “I told your father and sister for 20 years how to find their way,” she explains, “I will have to tell them again.” As her child takes her to look at apartments, the scene is bookended by apartment complexes on either side of the frame. As the characters argue, the camera cuts back. The car sits at center, and there, quietly towering in the hazy background, are three looming cranes, an ominous reminder of the collapsing crane that almost killed Ni Yuan during the earthquake decades earlier. It’s these small touches that make the film more than just a family drama, but a thoughtful reflection of past and present as well.)
Chinese disaster films in normally to describe character inner activity and relationship between people and people show pain of the disaster .Generally the words like guilty deep resentful are made up of the core of the movies.Motherhood always be enlarged in the movie.Touch audiences heart in the film seem to be more important than describing the spectacular disaster scene.
Chinese disaster films in normally to describe character inner activity and relationship between people and people show pain of the disaster .Generally the words like guilty deep resentful are made up of the core of the movies.Motherhood always be enlarged in the movie.Touch audiences heart in the film seem to be more important than describing the spectacular disaster scene.