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East Asian cinema is cinema produced in East Asia or by people from this region. It is part of Asian cinema, which in turn is part of world cinema.
The most significant film industries that are categorized as East Asian cinema are the industries of Mainland China, Hong Kong, Japan, South Korea, and Taiwan. The term is sometimes confused with Southeast Asian cinema which include the likes of Singapore, Malaysia, Indonesia, Vietnam, Thailand, and the Philippines.
The scope of East Asian cinema is huge and covers a wide array of different film styles and genres. However, East Asian cinema shares a common cultural background. The region's cinema is particularly famous internationally for the following:
Unlike the European film industries, the East Asian industries were not dominated by American distributors, and developed in relative isolation from Hollywood cinema; while Hollywood films were screened in East Asian countries, they were less popular than home-grown fare with local audiences. Thus, several distinctive genres and styles developed.
East Asian cinema has—to widely varying degrees nationally—had a global audience since at least the 1950s. At the beginning of the decade, Akira Kurosawa's Rashomon (1950) and Kenji Mizoguchi's Ugetsu (1953) both captured prizes at the Venice Film Festival and elsewhere, and by the middle of the decade Teinosuke Kinugasa's Gate of Hell (1953) and the first part of Hiroshi Inagaki's Samurai Trilogy (1954) had won Oscars. Kurosawa's Seven Samurai (1954) became a global success; Japanese cinema had burst into international consciousness.
By the end of the decade, several critics associated with French journal Cahiers du cinéma published some of the first Western studies on Japanese film; many of those critics went on to become founding members of the French nouvelle vague , which began simultaneously with the Japanese New Wave.
By the late 60s and early 70s, Japanese cinema had begun to become seriously affected by the collapse of the studio system. As Japanese cinema slipped into a period of relative low visibility, the cinema of Hong Kong entered a dramatic renaissance of its own, largely a side effect of the development of the wuxia blending of action, history, and spiritual concerns. Several major figures emerged in Hong Kong at this time, including King Hu, whose 1966 Come Drink With Me was a key influence upon many subsequent Hong Kong cinematic developments. Shortly thereafter, the American-born Bruce Lee became a global icon.
As the popularity of East Asian films has endured, it is unsurprising that members of the Western film industry would cite their influences (notably George Lucas, Robert Altman and Martin Scorsese citing Akira Kurosawa; and Jim Jarmusch and Paul Schrader's similar mentions of Yasujirō Ozu), and—on occasion—work to introduce less well-known filmmakers to Western audiences (such as the growing number of Eastern films released with the endorsement "Quentin Tarantino Presents").
Another sign of the increasing influence of East Asian film in the West is the number of East Asian films that have been remade in Hollywood and European cinema, a tradition extending at least as far back as Western remakes of Akira Kurosawa films, such as John Sturges' 1960 The Magnificent Seven (based on Seven Samurai , 1954), and Martin Ritt's 1964 The Outrage (based on Rashomon , 1950), continuing through present-day remakes of J-Horror films like Ring (1998) and Ju-on: The Grudge (2002).
The influence also goes the other way. A number of East Asian films have also been based upon Western source material as varied as the quickie Hong Kong film remakes of Hollywood hits as well as Kurosawa's adaptations of works by William Shakespeare ( The Bad Sleep Well , Throne of Blood , and Ran ), Maxim Gorky ( The Lower Depths ), and Ed McBain ( High and Low ).
Some of the most accomplished directors of East Asian cinema include:
ChinaHong Kong
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Akira Kurosawa was a Japanese filmmaker and painter who directed thirty films in a career spanning over five decades. He is widely regarded as one of the most important and influential filmmakers in the history of cinema. Kurosawa displayed a bold, dynamic style, strongly influenced by Western cinema yet distinct from it; he was involved with all aspects of film production.
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John Woo Yu-Sen SBS is a Hong Kong filmmaker, known as a highly-influential figure in the action film genre. He was a pioneer of heroic bloodshed films and the gun fu genre in Hong Kong action cinema, before working in Hollywood films. He is known for his highly chaotic "bullet ballet" action sequences, stylized imagery, Mexican standoffs, frequent use of slow motion and allusions to wuxia, film noir and Western cinema.
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Seven Samurai is a 1954 Japanese epic samurai drama film co-written, edited, and directed by Akira Kurosawa. The story takes place in 1586 during the Sengoku period of Japanese history. It follows the story of a village of desperate farmers who hire seven rōnin to combat bandits who will return after the harvest to steal their crops.
Action film is a film genre in which the protagonist is thrust into a series of events that typically involve violence and physical feats. The genre tends to feature a mostly resourceful hero struggling against incredible odds, which include life-threatening situations, a dangerous villain, or a pursuit which usually concludes in victory for the hero.
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Takashi Shimura was a Japanese actor who appeared in over 200 films between 1934 and 1981. He appeared in 21 of Akira Kurosawa's 30 films, including as a lead actor in Drunken Angel (1948), Rashomon (1950), Ikiru (1952) and Seven Samurai (1954). He played Professor Kyohei Yamane in Ishirō Honda's original Godzilla (1954). For his contributions to the arts, the Japanese government decorated Shimura with the Medal with Purple Ribbon in 1974 and the Order of the Rising Sun, 4th Class, Gold Rays with Rosette in 1980.
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Hu Jinquan, better known as King Hu, was a Chinese film director and actor based in Hong Kong and Taiwan. He is best known for directing various wuxia films in the 1960s and 1970s, which brought Hong Kong and Taiwanese cinema to new technical and artistic heights. His films Come Drink with Me (1966), Dragon Inn (1967), and A Touch of Zen (1970–1971) inaugurated a new generation of wuxia films in the late 1960s. Apart from being a film director, Hu was also a screenwriter and set designer.
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Nagamasa Kawakita was a Japanese entrepreneur, film producer and importer. Together with his wife Kashiko Kawakita and daughter Kazuko Kawakita, he was instrumental in the development of the Japanese film industry, sponsoring actors and actresses, and in promoting Japanese cinema to overseas audiences.
Fumio Yanoguchi was a Japanese recording engineer known for his work with film director Akira Kurosawa.