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3. Chinese Film Industry of 1990s
3. 20世紀90年代的中國電影
In the 1990s，china experiencedprosperity in its film. At the 1995 same time the government allowed the showing of foreign movies from 1995. Furthermore, more of China's films won awards at international film festivals，such as Ju Dou (1990) and To Live (1994) by Zhang Yimou, Farewell My Concubine (1993) by Chen kaige， Blush (1994) by Li Shao-hong , and Red Firecracker Green Firecracker (1993) by He Ping. However, these films encountered more and more criticism , in particular for their stylized form and neglect of audience response and absence of representation of the spiritual bewilderment of the people during the transformation of Chinese society.
在20世紀90年代，中國電影業經歷了繁榮發展。與此同時，政府允許1995年以后開始引進外國電影。更多中國影片在國際影展中獲獎，如張藝謀導演的《菊豆》(1990)和《生活》(1994)及由陳凱歌導演的《霸王別姬》 (1993年)，由李少紅導演的《紅粉》(1994)、何平的《去年煙花特別多》(1993)。然而，這些影片遇到越來越多的批評，特別是針對他們程式化的風格，對觀眾反應不夠重視和缺乏對處在中國社會轉型期的人們精神困惑的代表性反映。
Meanwhile, a group of spirited young filmmakers began throwing away the fashionable cinematic veneer and facing reality. They were Zhang Yuan and his East Palace West Palace (1996), Wang Xiaoshuai and his Beijing Bicycle (2000), Jia Zhangke and his Unknow Pleasure (2002), Jiang Wen and his Devils on the Doorstep (1999), Lu Xuechang and his The Making of Steel (1996) and many others. Their serious attitude toward the art of film and life was creating youthful vigor in China's film industry for the start of the new millennium.
與此同時，一批朝氣蓬勃的年輕電影制片人丟掉華而不實的電影外殼，開始面對現實。他們是張元和他的《東宮西宮》(1996)，王小帥和他的《十七歲的單車》(2000) ，賈棒柯和他的《任逍遙》(2002)，姜文和他的《鬼子來了》(1999) ，路學長和他的《鋼鐵是這樣煉成的》(1996)等等。他們認真對待電影藝術和生活的態度給中國電影在21世紀發展注入了青春活力。
