3. Chinese Film Industry of 1990s

3. 20世纪90年代的中国电影

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世纪90年代，中国电影业经历了繁荣发展。与此同时，政府允许1995年以后开始引进外国电影。更多中国影片在国际影展中获奖，如张艺谋导演的《菊豆》(1990)和《生活》(1994)及由陈凯歌导演的《霸王别姬》 (1993年)，由李少红导演的《红粉》(1994)、何平的《去年烟花特别多》(1993)。然而，这些影片遇到越来越多的批评，特别是针对他们程式化的风格，对观众反应不够重视和缺乏对处在中国社会转型期的人们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.

与此同时，一批朝气蓬勃的年轻电影制片人丢掉华而不实的电影外壳，开始面对现实。他们是张元和他的《东宫西宫》(1996)，王小帅和他的《十七岁的单车》(2000) ，贾棒柯和他的《任逍遥》(2002)，姜文和他的《鬼子来了》(1999) ，路学长和他的《钢铁是这样炼成的》(1996)等等。他们认真对待电影艺术和生活的态度给中国电影在21世纪发展注入了青春活力。