1,497 Matches Found
One of Hu Jie's 'Farmers Working in the City' films. The city is developing rapidly, with tall buildings and highways. Behind this bustling city, there is such a group of people. They come from the countryside. Maybe they are not dressed well, or they have only finished elementary school, but they work hard with their own work. The piece of prosperity pays its youth and sweat. (Shot between 1997 and 1998)
The children cage the birds without realizing they hold the balance in the forest. Without birds pests come to the children's homes.
Short documentary film directed by Shi Jian. Aired as part of Oriental Time and Space.
The film tells the story of the early 1960s when a three-year-long natural disaster swept across China. Thousands of orphans were brought to the vast grasslands of Inner Mongolia, where they were assigned to live with local herders to get through the difficult times. Su Rina, through frugality, ensured the children could attend school. For the sake of the children, she rejected the sincere love of Kaba. One snowy night, the children were awakened by a faint sound. They ran out of their yurt and rescued a dying little white camel. From then on, the white camel grew up alongside the children.
Folk theater is a representation of local culture in China — a reflection of its characteristics. Hu Jie filmed a mobile theater troupe's performance and as well their backstage drama. This is a Henan opera troupe; they perform in rural areas of Henan and Shandong. They contact village officials in advance, negotiate a price, and then come to perform. Such performances are welcomed by the villagers. The troupe is a closed small society. There is a strict hierarchical system inside: The protagonist of the troupe is usually invited from the state-run troupe to support the scene. These people eat delicious and spicy food, and the boss treats them indifferently. But child actors are like child labor in the troupe. Children are called apprentices, but are actually exploited and used like slaves. Children slowly grow into actors, and then find a partner in the troupe and get married. Women similarly are not treated well — they shine on the stage, but off-stage they're abused.
Winter is here, and in the snow-covered valley, a hungry little fox takes one step at a time. The fox stumbles upon Bear's house. The mother bear and her two cubs quarrel how to divide the pancakes between them. The fox might be able to help with sharing.
The fat man is trying to get rid of the bees, only learning about the 'circle of life' in the end.
The melody of the hymn echoes in the old streets and alleys of the city. This is strange in a country that regards religion as a spiritual opium. The small, messy street was full of old people, and they began to pray with the sound of the room on the street. On the roof, a simple cross gleamed in the sun. During the Cultural Revolution, Christianity was completely eradicated. In China's political environment, Christianity has always been regarded as an extremely reactionary and evil thing, and openly believing in God would bring prison sentences. After the reform and opening up, Christianity also resumed activities. Although the Three-Self Church under official control is orthodox, house churches that are not under official control have also emerged in various cities. This film documents the activities of a house church in Nanjing.
This documentary examines the 3500-year history of the city's construction in Wuhan, and records the historical footprint of from the development of a castle to a mega-city of 8 million people. Won the best documentary in Hubei Province in 1999.
Freaky ghost sex, I guess.
Scenarios of women and men in relationships meeting each other.
The 62-year-old Meng Jinfu is the last shaman of the Orogen ethnic group in China. He and his wife Ding Quiqin live in the deep forest of the Greater Xing'an Mountains all year round and live a primitive life. In the 1950s, the Chinese government helped Orogen people relocate from the forest to settlements. However, Meng Jingfu who had lived in the forest since childhood, eventually returned there with his wife and made a living by hunting. Though his life is difficult, he has been happy since childhood in the forest. But since then area has been deforested and the animal population has decreased, Meng Jinfu has been worried. The resettlement under the mountain has fundamentally changed the customs of the Orogen people.
Mourning the Tang Dynasty, in a small market in Yongzhou. Uncle Li, a fruit farmer, is kind and fair, and his business is booming. Small peddler Wang Er resorted to fraud to deceive customers. On the way home, the two of them took the same boat and crossed to the middle of the river where the boat broke.
One of Hu Jie's 'Farmers Working in the City' films. The city is developing rapidly, with tall buildings and highways. Behind this bustling city, there is such a group of people. They come from the countryside. Maybe they are not dressed well, or they have only finished elementary school, but they work hard with their own work. The piece of prosperity pays its youth and sweat. (Shot between 1997 and 1998)
TV documentary special directed by Shi Jian for the 40th anniversary of China Central Television.
The story of Hu Xiaoyan, a student at a dance school.
Documentary about Buddhist nuns in Fuhu Temple, located in the foothills of Mount Emei in Sichuan Province, China.
A 1995 film co-directed by Kang Jianning and Gao Guodong that, most likely, grew out of their earlier film Sand and Sea, and saw at least Kang returning to the family in the desert that he interviewed for that film. Not to be confused with another film of this same title by Kang, from 2003, which includes more up-to-date footage, was itself edited down for broadcast on Chinese TV as part of the 'The Weight of Time' series, and does not include any contributions from Gao Guodong.
Documentary series on the students of reform schools in Beijing. Originally edited into a six-episode TV series and later a 90-minute feature film version was made.
An anthropological documentary filmed by director Hao Yuejun in his early years. The film was filmed from 1992 to 1994 and premiered at the Beijing China Film and Television Anthropology Annual Conference in 1995, which caused a huge backlash. This is an important work after the Chinese ethnography documentary has revived, and it is also a product of a historical stage.
Never broadcasted film by Chinese documentary filmmaker Kang Jianning. Whether it's a feature or a short is not known.
The story takes place in a Karst mountainous area in southwestern China. There is a karst cave called "Fengyan Cave" inhabited by a Han village of 56 households and more than 280 people. Eight generations have been extended here. In the cave village, there is a special relationship that brings the whole village together to face the sinister nature; here, each member of this cave "big family" shares a "big roof"; they share the same Gods; drink a pool together; walk a mountain road to the outside world together...
Documentary on a 58-year old lady from a rural village in Sichuan.
Chinese filmmaker Ah Nian's second film.
A medical student who travels to a remote village to research a form of traditional medicine becomes increasingly preoccupied with the life of a young widow she encounters there.
The first short documentary Jiang Yue made for the Oriental Time • Living Space program, about old men swimming in Houhai, Beijing.
This documentary is about a group of people led by the anti-high artistic attitude of the underground culture of the end century during the Mid-Autumn Festival in 1995 for three consecutive days and two nights, supported by the unprecedented courage of the Taipei County Cultural Center; the planning is broken.
Documentary short film by Zhang Yiqing.
an overweighted school boy is forced by his parents to join a summer camp where something suspicious is happening.
Young students from across the country are invited to Beijing to perform a play written by future Nobel Laureate Gao Xingjian. The film documents their feverishly intense rehearsals, the phenomenal public reception of their performances, and their desperate attempts to sustain their euphoria and pursue artistic careers in Beijing.
Liu Zeyuan is a farmer on the edge of the desert at the junction of Inner Mongolia and Ningxia. He grows food and raises camels, and his family's annual income is 5,000 yuan. Liu Picheng is a fisherman on Jingwa Island, part of the isolated Liaodong Peninsula; he is unwilling to attract attention and becomes hostile to the camera. The living environment and conditions of these two families are different, but the directors try to find some common ground while expressing the two respective unique lifestyles. In fact, these lives are firmly swayed by nature: sand storms can destroy everything, just as the ocean tide can destroy everything, and for the two protagonists, the difficult grasp of the future and their children also brings them the same loneliness. Filmed in 1989, Sand and Sea received the Grand Prix award from the 1991 Asian Broadcasting and Television Union.
Documentary on the pony express in the Lugu Lake area.
Short documentary for Oriental Time and Space.
