A Critical Appreciation of the Commercial Blockbusters by Zhang Yimou

Abstract

It is essential to note that for the past two decades the majority of the Fifth Generation directors have experienced an obvious shift of film-making from art cinema to the production of commercial blockbusters. By means of borrowing Hollywood’s “high concept” cinema, the local blockbusters featuring Chinese cultural elements are very emphatic about symbolism and visual effects of productions that are bringing to the audience new and stirring feel. And in the blockbusters of Chinese style, the stardom and renowned directors are the guaranteed success of box office. In terms of thematic subjects, the representative director Zhang Yimou has with certainty showcased his reflections on the unlimited power hierarchy and the impulse to deconstruct it in his works, which contain social and cultural allegories and morality problems of family. The so-called “commercial blockbusters” as <i>Hero</i> and <i>House of Flying Daggers</i> have utilized the unique on-site shooting and color effects to achieve the desired results. At the same time Zhang Yimou has in his art house works benefited from Akira Kurosawa, master of the genre, and some technicalities in gangster film. Zhang’s blockbusters of swordsman and Wuxia (martial art) have made an immense box value owing to their tactic violation of the mainstream ideologies. As a result, they are not regularly categorized as the most significant movie of the day. Being Zhang’s last blockbuster, <i>Curse of the Golden Flower </i>takes advantage of merging spectacular scenes and artificial staging for the purpose of authentic representation and imagination. This is also materialized by his cleverly adapting the original work of fame by Cao Yu, a contemporary playwright. Zhang Yimou’s blockbusters, with his special aesthetic, has largely succeeded in an economic sense, but failed ideologically to merge in the mainstream cinema of China.