Author's note[edit]

Ok, I'm just getting going with this, so here's some things I'd like to include, stuff I'd like to expand upon. I don't want to just re-hash everything in the original articles of these potential links, rather these people and films should be cited in a pretty general way, with reference to the European or Western experience of Eastern Cinema, it's impact on the rest of the world.

Kill Bill
Matrix
US remakes of The Grudge, The Ring, Dark Water etc


Feel free to help me out with this! Gram 17:20, 2 January 2006 (UTC)Reply[reply]


I'll do what I can, time permitting. The so-called New New Wave in Asian cinema, which is not geographically bound, but is an aesthetic/stylistic movement merits discussion, as the epicenter of the movement is in Taiwan, Hong Kong, China and Japan (Edward Yang, Tsai Ming-liang, Hou Hsiao-hsien, Wong Kar-wai, Hirokazu Kore'eda). However other Asian filmmakers integral to the style are from elsewhere in Asia: Apichatpong Weerasethakul and Pen-ek Ratanaruang (Thailand), Abbas Kiarostami, Moshen Makhmalbaf, Jafar Panahi (Iran), so I want to think about how to approach it first. This stylistic movement emerged from spontaneous, coincidental developments in film in Taiwan and Iran at about exactly the same time, and apparently the filmmakers in question were familiar with each others' work, and the influence has since spread continent-wide, so perhaps it would fit into a discussion of influences.

There was also the genre new wave in Hong Kong - late 70s/early 80s - that produced Ann Hui, Clara Law and Tsui Hark, who all emerged by way of commercial television production.

There is also a generational divide in Chinese cinema, between the 80s-emergent directors known for films like Ju Dou and Farewell My Concubine, and a younger generation who emerged during the 90s with more experimental work like Unknown Pleasures.

In Japan, there are well-known developments in horror, anime and other genres, but there are also several less categorizable filmmakers like Hirokazu Kore'eda, Kyoshi Kurosawa, Kohei Ogura, Jun Ichikawa, Shinji Aoyama and Naomi Kawase: these filmmakers came from backgrounds as varied as documentary work and pink film, and would best be known for varying degrees of experimentalism and minimalism. Such work has been more resistant to international crossover, but the amout of critical discussion they have generated is indicative of slowly-building interest. They do fit squarely into some global indie film movements, and show some detectable influence upon other filmmakers.

Davidals 12:20, 3 October 2006 (UTC)Reply[reply]

poor title[edit]

Though usually Asian cinema is used (and yes, it includes India and Pakistan, etc.), if a distinction is going to be made, East Asian cinema would be a better title for this article, since it's much more commonly used for this subject matter. I'm pretty sure haven't seen an article on "Eastern cinema" any time recently that was written in the last 20 years, though I've seen numerous on "Asian cinema" and some on "East Asian cinema". 66.92.1.58 06:14, 26 April 2006 (UTC)Reply[reply]

I agree that in order to distinguish it from Asian cinema (which would include India etc), it should be changed to East Asian cinema and will move accordingly.

More references[edit]

This article has a lot of content but unfortunately no sources to verify its authenticity. Like stated in the article header, we should add more sources. Bossanueva (talk) 23:04, 4 May 2010 (UTC)Reply[reply]

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