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Jason McGrath, a University of Minnesota professor, believed that, having achieved success within mainland China in the face of Hollywood competition, "The entertainment cinema of Feng Xiaogang represents a new model of a Chinese national cinema that positions itself vis-à-vis Hollywood."
The Feng Xiaogang “brand” is the holiday hesuipian or New Year’s film, a genre he practically invented in mainland China in 1998 with Be There or Be Square (though there are Hong Kong cinema industry precedents): a star-packed, family-friendly comedy that, released around Chinese Lunar New Year, made huge box-office success an aspiration ...
Sep 21, 2021 · By analyzing the recently released film Youth (Feng Xiaogang, 2017) and its extraordinary popularity in mainland China, this article engages with current debates on the role of cinema in evoking nostalgia through the continual reference to the national past.
- Qijun Han
- 2021
Feb 20, 2014 · With new cinemas in China popping up at the rate of ten a day, Feng Xiaogang is the Chinese answer to Steven Spielberg: a reliable box office hitter.
Aug 9, 2022 · This paper seeks to illustrate how Chinese film director Feng Xiaogang constructs and delivers social commentaries in his New Year comedies The Dream Factory (1997) and Personal Tailor (2013). These two films are unique in terms of narrative strategy compared to his other New Year films.
Mar 2, 2016 · Xiaogang has spearheaded a new era in Chinese film, representing the dual nature of a communist regime, and one of the largest commercially driven economies in the world, in a modern...
Feb 10, 2014 · Matchmaking is a new social phenomenon in 21st century China. It has become an integral and essential part of the life of Chinese singletons. Hence Feng made a film to satirise it, but he still made a genuinely romantic, wonderfully observed film.
