Film

Opinions concerning Letting Socialist Literature and Art Flourish

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Central Committee

3 October 2015

In order to implement the spirit of the 18th Party Congress and the 3rd and 4th Plenums of the 18th Party Congress, earnestly implement the spirit of General Secretary Xi Jinping’s important speech at the Forum on Literature and Art, and let Socialist literature and art flourish, the following opinions are put forward. Read the rest of this entry »

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Management Rules for the Dissemination of Audiovisual Programmes through the Internet and Other Information Networks

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(Opinion-solicitation draft)

Chapter I: General Principles

Article 1: In order to standardize the audiovisual programme dissemination order through the Internet and other information networks, stimulate the healthy and orderly development of audiovisual programme dissemination services through the Internet and other such information networks, safeguard the national interest and the public interest, and protect the lawful rights and interests of the public and bodies involved, these Rules are formulated. Read the rest of this entry »

Xi Jinping’s Talks at the Beijing Forum on Literature and Art

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The original text of the speech has not been published. This summary was published by Xinhua on 15 October.

Xi Jinping Chairs Forum on Literature and Art Work and Stresses

Persisting in the Creative Orientation of Putting the People Central

Creating Ever More Excellent Works Living Up to the Times

Liu Yunshan in Attendance

CCP General Secretary, State President and CMCC Chairman Xi Jinping chaired the Forum on Literature and Art Work organized in Beijing on the morning of the 15th, and gave an important speech. He stressed that literature and art are the bugle call for the advance of the times, are most able to represent the spirit of an era, and are most able to guide the mood of an era. To realize the “Two Centuries” struggle objective and realize the Chinese Dream of the great rejuvenation of the Chinese nation, the role of literature and art is irreplaceable, and there is great promise from literature and art workers. The broad literature and art workers must understand the position and role of literature and art from this height, understand the historical mission and responsibility they bear, persist in the creative orientation of putting the people central, strive to create ever more excellent works living up to the times, carry forward the Chinese spirit, concentrate Chinese strengths, and encourage the people of all ethnicities in the entire country to march toward the future full of vigour and vitality.

Standing Committee member and Central Committee General Office Secretary Liu Yunshan attended the Forum.

At the forum, China Writer’s Association Chairwoman Tie Ning, China Peking Opera Association Chairman and Shanghai Peking Opera Theatre and Art Director Shang Changrong, Kongzheng Song and Dance Ensemble First-Level Playwright Yan Su, China Association of Fine Arts Vice-Chairman and China Academy of Fine Arts Director Chang Xuhong, China Association of Dance Chairwoman and National Theatre Dance Art Chief Inspector Zhao Rusu, China Writer’s Association Vice Chairman and Shanghai Municipal Writer’s Association Vice Chairman Ye Xin, China Film Association Chairman and China Drama Academy First-Level Performer Li Xuejian gave successive addresses.

After earnestly listening to everyone’s speeches, Xi Jinping made an important speech. First, he indicated that the literature and art undertaking is an important undertaking of the Party and the people, the literature and art battlefront is an important battlefront for the Party and the people. For a long period, the broad literature and art workers have devoted themselves to literature and art creation, performance, research and dissemination, and in their respective areas, have been diligent and hardworking, served the people, obtained clear achievements, and made important contributions. Through everyone’s joint efforts, a hundred flowers are growing in our literature and art garden and there are countless great fruits, presenting a vivid picture of flourishing and development. Xi Jinping extended his sincere respects to literature and art workers nationwide.

Xi Jinping pointed out that promoting the flourishing and development of literature and art, in the end, requires the creation and production of excellent works that can live up to this great nation and these great times. Literature and art workers should firmly keep in mind that creation is their central task, work is the root of their being, they must engage in their creation with calm hearts and a spirit of improvement, and present the best spiritual nourishment to the people. The creation and production of excellent works must be made into a central link of our literature and art work, and we must strive to produce even more excellent works that disseminate the value views of present-day China, reflect the spirit of Chinese culture, mirror the aesthetic pursuits of Chinese people, which organically integrate ideology, artistry and enjoyability.

Xi Jinping stressed that, since reform and opening up, our country’s literature and art creation has welcomed a new springtime, and produced large amounts of universally appreciated excellent works. At the same time, it cannot be denied that, in the area of literature and art creation, the phenomena that there is quantity but no quality, and there are “high plateaus” but no “high peaks” exist, the problem of plagiarism, imitation and stereotypes exist, and the problems of mechanistic production and fast-food-style consumption exist. Literature and art cannot lose its direction as it is absorbed into the market economy, it cannot accept deviations on the question for whom they are, otherwise, literature and art will not have life force. Vulgarity is not popularity, passion does not represent hope, and naive sensual amusement is not equal to spiritual cheer. The reason excellent works are “excellent”, lies in their ideological profundity, artistic exquisiteness and product superiority. [Translator’s note, these three adjectives all contain the character 精, “excellent”]. Literature and art workers must hold high ideals, live and create in step with the times, and innovate through the individuality of their art. We must persist in the principle of letting a hundred flowers bloom and a hundred schools contend, carry forward academic and artistic democracy, construct a vigorous, healthy, tranquil and harmonious atmosphere, advocate discussion between different viewpoints and schools of thought, advocate that styles, themes, forms and methods fully develop, and promote mutual praise and reflection in group discussion on ideas, content, styles and schools.

Xi Jinping pointed out that, to make literature and art creation flourish and promote literature and art innovation, we must have a large batch of distinguished literators and artists skilled in virtue and art. Our country’s writers and artists should become prophets, trailblazers, and pioneers of the spirit of the times, write and record the magnificent practice of the people and the demands for progress of the times through ever more literature and art works that have strong fibre, virtue and a warm temperature, display the beauty of faith and the beauty of the sublime. Literature and art workers must consciously persist in literature and art ideals, incessantly raise their scholarship, self-control and self-cultivation, strengthen their ideological accumulation, knowledge stores, cultural accomplishments and artistic training, earnestly and solemnly consider the social effect of their works, stress quality, place weight on artistic virtue, save righteousness for history, present beauty and virtue to the people of the world, strive to win people’s love and welcome with noble professional integrity, a fine social image, and beauty both in writing and quality.

Xi Jinping stressed that Socialist literature and art, essentially speaking, is the people’s literature and art. Literature and art must reflect well the people’s wishes; it must persist in the fundamental orientation of serving the people and serving Socialism. This is a basic requirement of the Party for the literature and art front, and is the crux that decides the future destiny of our country’s literature and art undertaking. We must make satisfying the people’s spiritual and cultural needs into a starting point and checking point for literature and art and literature and art workers, make the people into the centre of literature and art expressions, make the people into connoisseurs and critics of literature and art aesthetics, and make serving the people into the vocation of literature and art workers.

Xi Jinping pointed out that, following the incessant rise in people’s living standards, the people’s demands on quality, status and style of cultural products, including literature and art works, have risen. Literature, theatre, film, television, music, dance, fine arts, photography, calligraphy, folksong, acrobatics as well as folk literature and art, mass literature and art and other areas must follow the developments of the times, grasp the demands of the people, and create and produce excellent works that the people love to see and hear with full fervour, vivid brush strokes, graceful melodies and moving forms, to let the people’s spiritual and cultural lives incessantly climb towards new heights.

Xi Jinping stressed that the people are the sources of flowing water for literature and art creation, whenever they are removed from the people, literature and art will change into rootless duckweeds, baseless groaning, and soulless bodies. Whether or not we can produce excellent works fundamentally depends on whether or not we are able to write for the people, express emotions for the people, and express the compassion of the people. We must modestly learn from the people and learn from life, derive nutrients from the people’s magnificent practices and rich and varied lives, incessantly accumulate life and artistic experiences, incessantly discover the beautiful and create the beautiful. We must consistently keep the people’s daily lives and the people’s happiness in our hearts, pour the people’s range of emotions into our own brushstrokes, eulogize the struggling human life, portray the most beautiful characters, and persist in people’s yearning for and belief in beautiful lives.

Xi Jinping pointed out that if literature and art workers want to achieve success, they must consciously breathe together with the people, share their fate, link their hearts with the people’s hearts, fell joy for the joy of the people, suffer for the suffering of the people, and be servants of the people. They must love the people sincerely, love them profoundly, love them lastingly, and must deeply understand the rationale that the people are the creators of history, go deep among the masses, go deep into life, earnestly and sincerely be the little students of the people. Art may give wings to imagination, but it must absolutely have its feet on terra firma. There are a hundred, a thousand ways of creating art, but the most fundamental, the most crucial, and the most reliable method is taking root among the people and taking root in life. We should use realist spirits and romantic feelings to contemplate real life, use light to disperse darkness, use the beautiful and the good to vanquish the ugly and the evil, let the people see that beauty, hope and dreams are ahead.

Xi Jinping stressed that a good work should put social effect first, and at the same time should be a work that integrates social effect and economic effect. Literature and art cannot become slaves of the market, and must not be stained with the stink of money. Excellent literature and art works, at best, can gain ideological and artistic successes, and can receive a welcome on the market.

Xi Jinping pointed out that every age has a spirit of the age. Literature and art are the engineering project of casting souls, literature and art workers are engineers of the souls. Good literature and art work should be like sunlight in a blue sky, like a cool spring breeze, they should be able to enlighten thoughts, caress spirits and mould people’s lives, they should be able to clear away the wind of despair. The broad literature and art workers must carry forward the banner of the Socialist core value system, reflect the Socialist core value system in their literature and art creation vividly, vigorously and in a lifelike manner, use true-to-life images to tell people what they should affirm and praise, and what they must oppose and deny, ensure that the salutary effect of education, like a spring breeze, noiselessly touches all. We must make patriotism into the main melody of literature and art creation, guide the people to establish and uphold correct views of history, views of the nation, views of the country and views of culture, and strengthen their fortitude and resolve to be Chinese.

Xi Jinping stressed that pursuing the true, the good and the beautiful is the eternal value of literature and art. The highest boundary of literature and art is moving people, letting the spirits of people experience baptisms, letting the people discover the beauty of nature, the beauty of life and the beauty of the spirit. We must, through literature and art works, spread the true, the good and the beautiful, spread upward and charitable value views, guide the people in strengthening their powers of moral judgment and their sense of moral honour, yearn for and pursue a life of stressing morals, respecting morals and abiding morals. As long as the Chinese nation pursues the moral plane of the true, the good and the beautiful generation by generation, our nation will be eternally healthy and upward, and will for always be full of hope.

Xi Jinping pointed out that China’s excellent traditional culture is the spiritual lifeline of the Chinese nation, is an important source nourishing the Socialist core value system, and is a firm basis for us to get a firm foothold within the global cultural surge. We must integrate the conditions of new times with inheriting and carrying forward China’s excellent traditional culture, and inheriting and carrying forward a Chinese aesthetic spirit. For our Socialist literature and art to flourish and develop, we must earnestly study and learn from the excellent literature and art created by people in all countries worldwide. Only if we persist in using the foreign to serve the Chinese, exploration and innovation, ensuring combinations of the Chinese and the Western, and mastery through comprehensive study, will our country’s literature and art be able to flourish and develop better.

Xi Jinping stressed that all levels’ Party Committees must bring literature and art work onto the important matters agenda, implement the Party’s literature and art principles and policies well, and grasp the correct orientation of literature and art development. We must choose good leadership ranks for strong literature and art work units, put cadres who have both ability and integrity, and who are able to be on the same page as literature and art workers into leading positions in literature and art work. We must respect the creative individuality and creative labour of literature and art workers, have full confidence in political matters, provide enthusiastic support in creative matters, and create a good environment for the benefit of literature and art creation. We must, through deepening reform, perfecting policies and completing structures, shape a vivid picture of incessant production of excellent work and talents. We must give high attention to and realistically strengthen literature and art criticism work, use the viewpoints of history, the people, art and aesthetics to judge and appreciate works, advocate telling the truth, stressing virtue, and create a good atmosphere to develop literature and art criticism.

Wang Huning, Liu Yandong, Lu Qibao, Xu Qiliang and Li Zhanshu attended the Forum.

Persons in charge from relevant Party and State departments, and the Liberation Army General Political Department, as well as representatives of literature and art workers from all sectors participated in the Forum.

 

 

spirit of the times, write an nd social media. It will particularly reflect on the development of frameworks for user-generate

Speech at the Forum on Literature and Art

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15 October 2014

Xi Jinping

Today, an ensemble of heroes has assembled here, the young and the old have come together, we have both old writers and old artists of noble character and high prestige, and have new literature and art talents who are bursting into the limelight, I know some comrades already well in the past, some comrades I’m meeting for the first time. I am very happy to see everyone.

The literature and art undertaking is an important undertaking of the Party and the people, the literature and art front is an important front for the Party and the people. For a long time, the broad literature and art workers have devoted themselves to literature and art creation, performance, research and dissemination, have been industrious and hardworking in their own areas, serving the people, they have obtained great achievements and made major contributions. Through everyone’s common efforts, our country’s literature and art garden contains hundreds of flowers competing and flowering, bringing forth innumerable achievements, they have presented a vivid vista of flourishing and development. I’d like to use this opportunity to express sincere gratitude to everyone, and extend my warmest respect to the literature and art workers nationwide. Read the rest of this entry »

Notice concerning Further Implementing Regulations on the Management of Online Foreign Film and Television Dramas

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All provincial, autonomous region and municipal press, publications, radio, film and television bureaus, the Xinjiang Production-Construction Corps Radio, Film and Television Bureau

On the basis of the “Radio and Television Management Regulations” (State Council Decree No. 228), the “Internet Audiovisual Programme Service Management Regulations” (SARFT, Ministry of Industry and Information Technology Decree No. 56), the State Administration of Radio, Film and Television “Notice concerning Strengthening Management over Internet Dissemination of Film and Television Dramas” (GF No. (2007)122) and other such regulations and provisions, foreign film and television dramas used for dissemination on the Internet and other such information networks shall obtain a “Public Film Screening Permit” or a “Television Drama Distribution Permit” according to the law. In order to develop online culture and let it flourish, and vigorously absorb the excellent cultural achievements of the world at the same time as inheriting and carrying forward China’s excellent cultural traditions, the following provisions on further implementing management over dissemination of foreign film and television dramas on information networks (hereafter simply named online foreign film and television dramas) are hereby notified: Read the rest of this entry »

Copyright Law of the People’s Republic of China (Revision Draft, Submission Version)

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National Copyright Administration

Revision Draft, Submission Version

Chapter I: General Principles

Chapter II: Copyright

Section I: Copyright holders and their rights

Section II: Copyright entitlement

Section III: The term of protection of copyright

Chapter III: Related rights

Section I: Publishers

Section II: Performers

Section III: Audio producers

Section IV: Radio stations and television stations

Chapter IV: The limitations of rights

Chapter V: The exercise of rights

Section I: Copyright and related right contracts

Section II: Collective copyright management

Chapter VI: Technological protection measures and rights management information

Chapter VII: The protection of rights

Chapter VIII: Supplementary provisions

Chapter I: General provisions Read the rest of this entry »

Notice concerning Printing and Issuing the Provisions on the Main Duties, Internal Structuring and Personnel Allocation of the General Administration of Press, Publications, Radio, Film and Television

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GBF No. (2013)76

All provincial, autonomous region and municipal People’s Governments, all State Council Ministries and Commissions, all directly subordinate organs:

The “Provisions on the Main Duties, Internal Structuring and Personnel Allocation of the General Administration of Press, Publications, Radio, Film and Television” have been approved by the State Council and are hereby printed and issued.

State Council General Office

11 July 2013 Read the rest of this entry »

Notice concerning Earnestly Doing the Distribution and Screening Work of the Films “The Young Lei Feng”, “Lei Feng in 1959” and “Lei Feng’s Smile” Well

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On 4 March, SARFT issued the “Notice concerning Earnestly Doing the Distribution and Screening Work of the Films ‘The Young Lei Feng’, ‘Lei Feng in 1959’ and ‘Lei Feng’s Smile’ Well” to all provincial, autonomous region and municipal radio, film and television bureaus, all cinema chain companies, rural digital cinema chain companies, relevant film studio work units, the China Film Co. Ltd., the Huaxia Film Distribution Co. Ltd., the Film Channel Programme Centre, the Film Digital Programme Centre and the China Film Distribution and Screening Association, the Notice sais that the films “The Young Lei Feng”, “Lei Feng in 1959” and “Lei Feng’s Smile” are excellent films that have been meticulously produced to remember the 50th anniversary of Mao Zedong and other older-generation revolutionaries’ writing about Comrade Lei Feng. These three films use moving stories, vivid images and lively details to display the short but magnificent life of Lei Feng from different angles, with the real history of Lei Feng’s growing up as the core thread. In order to carry forward the Lei Feng spirit, embody passing down the torch of the Lei Feng Spirit, fully give rein to the important function of the films in building a Socialist harmonious society and stimulating the construction of a spiritual civilization, hereby, the following matters relating to the distribution and screening works of these three films are notified as follows:

Read the rest of this entry »

“Devils on the Doorstep”: An Interesting Look into Film Censorship

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In 2000, Jiang Wen’s film Devil on the Doorstep was banned in China, after coming in second for the Cannes Grand Prix. The film depicts a situation in which a Chinese villager, Ma Dasan, is forced to watch over a Japanese prisoner and a Chinese interpreter. Unable to bring himself to kill them, Ma hides them in an old watchtower and starts taking care of them. In the end, the two prisoners are traded back to the Japanese Army in exchange for carts of grain, but a subsequent misunderstanding ends in a massacre.

Interestingly, China Digital Times published the verdict of the SARFT film censorship board on Devils on the Doorstep. Normally, censorship decisions are not made public, and their content is only revealed by reference in interviews with filmmakers. However, this document provides an insight into some of SARFT’s methods and priorities.

The most important part of the verdict relates to the portrayal of Chinese villagers and Japanese soldiers against the background of the Second World War, or, using the Chinese term, the War to Resist Japan. Throughout, SARFT takes the film to task for incorrect depictions of the nature of the Chinese people. An old grandfather should not be shown as being sympathetic to a young Chinese soldier, it is deemed incorrect that the villagers care for the Japanese soldier and the Chinese traitor (汉奸 hanjian), or that they indicate that they haven’t really suffered under the occupation. When the Japanese soldier imagines being attacked by the villagers, he imagines them as Samurai. However, SARFT feels that what he should feel most are “the armies resisting Japan, such as the Eighth Route Army or guerrilla forces”. Imagining villagers as samurai “uglifies the Chinese people”. In short, in this film, the “common Chinese people” do not show sufficient hatred towards the Japanese, do not sufficiently differentiate between foe and friend, and display ignorance and apathy. At the same time, according to SARFT, the film does not correctly display the cruelty of the Japanese army but, amongst others, shows a Japanese soldier giving sweets to children. Also, “Japanese army songs are played often, putting a spin on the Japanese imperialists flaunting their strength, which may gravely hurt the feelings of the Chinese people.”

A smaller issue comes at the end of the film, where a Guomindang general declares that only the Guomindang can legally accept the surrender of Japanese troops. Again, this does not fit in official CCP historiography and is therefore beyond the pale.

Lastly, there are a few issues of obscenity and language. A sex scene between Ma Dasan and his lover Yu’er is deemed to “bring about strong, harmful sensual stimulation to people.” A scene in which the villagers’ pack donkey gets aroused by a Japanese army donkey is described as vulgar and boring.

In the light of recent, island-related events, the focus on the manicheist separation between the heroic Chinese and the agressive Japanese invaders provides an interesting insight in the politics of division practiced by the censorship board. By insisting on one-dimensional representation of ethnicities, the board seems to deny the possibility to portray a human connection between the Chinese and the Japanese, as has been explored in many Western WW2 films, including Schindler’s List. Rather, the insistence of a politically correct vision of history reinforces Chinese exceptionalism and the dehumanisation of the Japanese, however horrifying some wartime acts might have been.

In terms of obscene content, again, a logic of dehumanisation takes place. By denying the sexuality of Ma Dasan and Yu’er, the board seems to require these characters to become larger than life superhumans. Perhaps the underlying purpose of this direction of censorship can be best explained by understanding the process of content review as an effort to direct the content of film towards the grand objectives of the CCP. In this view, film is not an open artistic expression to be judged on its own merits by audiences, but is a purposive tool to build awareness of the century of humiliation, the innate superiority of the Chinese people, and the grand destiny to which it is called. That being said, this document is now twelve years old, and more light would be shed on the evolution of this matter if more censorship decisions were made public. If anyone is aware of such documents, please contact us.

State Administration of Radio, Film and Television Film Examination Committee Examination Opinion concerning “Devils on the Doorstep”

The coproduced film “Devils on the Doorstep” that your company submitted has been examined by the Film Examination Committee. The Examination Committee believes that:

The script of this film has not been revised strictly according to the Film Bureau “Response concerning Project Establishment of the Coproduction ‘Devils on the Doorstep'” (DZ No.[1998]302), and has been filmed without authorization under the circumstances that no script has been submitted for filing, at the same time, lines and scenes have been added in many places without authorization, resulting in a film, that on the one hand, not only has not expressed the hatred and opposition of the common Chinese people against the invasion, against the great background of the War to Resist Japan (the sole person daring to scold and oppose the Japanese Army is a madman annoying the villagers), on the contrary, it prominently displays and concentratedly exaggerates their ignorance, apathy and servility, and on the other hand, has not only not fully revealed the Japanese imperialist and aggressive nature, but prominently plays up the rampant manner in which Japanese invaders flaunt their strength, leading to grave deviations in the basic concept of the film.

Filthy words appear repeatedly in the film, and Japanese soldiers often take the insult “Chinese pigs” into their mouths, furthermore, there are shots with naked female bodies, the overall style is vulgar and does not conform to the standards of the “Film Examination Regulations”.

The name of the film must be chosen again according to the repeated requirements of the Film Bureau.

The film must, after earnest revision according to the attachment, be resubmitted for examination.

Attachment: “Major Differences Between the Film “Devils on the Doorstep” and the Approved Script”

I, Unauthorized revised and added scenes, resulting in grave deviations in the basic concept of the film:

1, On pages 7 and 8 of the script, when the masses of villagers in the original literary script try the Japanese Soldier Hanaya and the Chinese traitor Dong Hancheng , they does not show fear, but excoriate them: “You want to make trouble, there are no sweet cakes for your to eat” and “We will beat all the yellow out of you”, etc.  But the film shows that the villagers fear them from the start. And the lines of Grandfather in shot 240 were added: “I see you are also children”, displaying common Chinese people as stupid and ignorant, making no difference between foe and friend.

2, The film bureau has insisted on deleting the scene on giving the devils wheat flour and rice to eat in the literary script, but in the film, not only has this scene not been deleted, but it repeatedly plays up Ma Dasan’s lending rice to Erbozi, agreeing on repaying eight times the loan, and the villagers also excitedly wrapping dumplings for Japanese soldiers and Chinese traitors. It objectively expresses the times of extreme difficulties of life for the common Chinese people during wartime, but their active care for Japanese soldiers and Chinese traitors, gravely violates history.

3, Shots 1027; In comparison with the literary script, the film adds lines for Erbozi: “The Japanese have come to our village eight years ago, what happened in those eight years, have they dared to touch one hair of mine? I’m doing fine, walking level, wherever I go, they will look highly at me”. The Japanese invaders were burning, killing, pillaging and looting China for eight years, committing heinous crimes, however, the film says, through the mouth of the wife of Erbozi that the Japanese army was highly disciplined towards them, embellishing the Japanese invaders.

4, Shots 472 to 496, in comparison with the literary script, the film added a section in which the Japanese Soldier Hanaya thinks that Ma Dasan has brought the villagers and comes breaking through, and imagines Ma Dasan and the villagers with the appearance of Samurai. Against the great background of the War of Resistance, the most dreaded fear of the Japanese soldier Hanaya should be the armies resisting Japan, such as the Eighth Route Army or guerrilla forces, the scene in which Ma Dasan and the villagers are imagined as Japanese samurai is not only false, it also uglifies Chinese people.

5, Shots 877 to 893, shorts 918 to 931, shots 941 to 947, and shorts 954 to 959, in comparison with the literary script, the film has added the storyline that the villagers think Ma Dasan killed the devils, pay not attention to him, and even Yu’er avoids him, upsetting Ma Dasan’s nerve. It displays multitudinous common Chinese people who don’t have the necessary hatred against the Japanese army, don’t differentiate between foe and friend, are ignorant and apathetic.

6, Shots 1002 to 1069; in comparison with the literary script, the film has added a storyline where after the small child’s learning Japanese creates danger, a crowd of villagers gets angry at Ma Dasan, and compete one by one to let him kill himself, and put his head on the table; Yu’er sais to the villagers: “isn’t letting him kill people, also letting me harbouring sinister designs? Look at these two days, you haven’t paid any attention to him. If we don’t kill people, we are forced to kill people, if we have killed people, we are not given any attention, looking at Ma Dasan is the same as looking at the devil, no-one has died, and you clash with us and do this…” It displays that common Chinese people not only do not dare to resist the enemy, but also are full of servility towards and fear of the invaders, can only fight among themselves, and are mutually suspicious and jealous.

7, Page 34 of the script: In the original script, when One Stroke Liu talks about his skill in killling, he says he killed a palace eunuch having a clandestine affair, but in shots 1177 to 1199 if the film, it has changed to One Stroke Liu having killed “eight ministers from the side of Cixi” and “the master of the Hundred Days of Reform, Tan Sitong”, this not only endows it with new political content, but also plays up the pride in beheading skills, with the result that he fails in killing the Japanese soldiers, exclaims “all my life’s glory, destroyed in a moment”, and runs away despondently. For people, it is a metaphor that in the last century, Chinese people were only able to take the axe to their own people, and did not dare to resist foreign aggression.

8, On page 39 of the script, everyone is discussing to send the devils back, in the original script, it is described that when the Japanese army arrives in the village, they draw a circle by sprinkling white rice, encircling the commoners, and force them to eat the rice, those who are unable to eat more, have their heads restrained and rice pressed into their mouth, an when the Japanese captain talks, the commoners pay no attention to him. However, in shots 1763 to 1871 of the film, this scene has been changed into a get-together, and forcefully plays up that they drink wine and sing songs together, the villagers are eternally grateful, the Japanese army is as close as brothers with the villagers, and there are lines such as “Today, I am happy, not only because of these grain carts, but mainly because the Imperial Army has given us face”, etc., this is a major change to the concept of the script, and is utterly contrary to the theme.

9, On pages 47 to 40 of the script; in the scene of the massacre of the villagers, in the original script, there are descriptions of common people who finally come to there senses, rise up and revolt, such as Erbozi picking up a steel helmet and striking Japanese soldiers with it, and the mother of Erbozi who takes of her shoes to hit the devils, and shouts: “Don’t be stupid, pick up weapons and fight.” But in the films, in shots 1872 to 2073, the commoners don’t fight with the devils until they die, and when facing massacre, essentially wait helplessly for death, and let themselves be trampled.

11, The only person who dares to scold and resist Japan in this film is a lunatic who annoys the villagers.

12, In comparison with the literary script, a scene is added in which a Guomindang general convenes the commoners, he openly executes Chinese traitors, and when giving his speech to accept surrender, says: “Only the republican armies are the legal acceptors of surrendering Japanese troops.” He also has a Japanese person lend a hand to kill Ma Dasan. This utterly reverses factual acts, but receives the agreement of the surrounding commoners, it gravely distorts history, and has not achieved the effect of criticising and mocking the Guomindang.

13, In the film, there are two persons singing ditties, who appear three times in total, there is no description of this in the original literary script. In shot 1099, lines such as “The Imperial Army comes to our village, let’s jointly build a common flourishing circle in East Asia, the Imperial Army has come to help the needy and relieve the distressed” have also been added. This is typical of the imagery of ignorance, apathy and being slaves without a country.

14, The content of Crazy Old Seven’s words when cursing Ma Dasan and Yu’er and when cursing Japanese devils is similar, this is extremely inappropriate.

15, In many places in the film, the mouths of Japanese people are used to insult Chinese people for “Chinese dogs”, gravely harming the image of China.

II, In the reply to the script, revision opinions were put forward, but in the following places, these revisions have not been made in the film:

1, On page 2 of the script: after Nonomura finishes juggling, he puts away his pack of sweets into his bag, displaying the Japanese army’s teasing children. In shot 24 of the film, he not only gives sweets, but also repeatedly displays Chinese children in pursuit of Japanese soldiers, asking for sweets.

2, On page 2 of the script: the scene in which Ma Dasan and Yu’er gasp violently for breath on the bed and  Yu’er is naked should already have been deleted in the original script. In shots 28 to 41 of the film, it has not only not been deleted, but lines have also been added: “Let me look”, “Look at what, faster, don’t have a rest”. The effect of the length, imagery and sounds of this bed scene are strong, and bring about strong, harmful sensual stimulation to people.

3, On page 40 of the script: When the donkey is in heat, in the original literary script, it was changed into the donkey running into the devils’ granary. In shorts 1590 to 1606 of the film, it has not been revised. This storyline has a vulgar style and is boring.

4. In the original literary script, the absolute majority of dirty works should have been deleted, but in the film, they are ubiquitous, and many characters use dirty words.

5, In the film, Japanese army songs are played often, putting a spin on the Japanese imperialists flaunting their strength, which may gravely hurt the feelings of the Chinese people.

广播电影电视总局电影审查委员会关于《鬼子来了》的审查意见

你公司送审的合拍片《鬼子来了》已经电影审查委员会审查。审委会认为:
影片没有严格按照电影局《关于合拍片<鬼子来了>立项的批复》(电字[1998]第302号)中的意见修改剧本,并在没有报送备案剧本的情况下擅自拍摄,同时又擅自增加多处台词和情节,致使影片一方面不仅没有表现出在抗日战争大背景下,中国百姓对侵略者的仇恨和反抗(唯一一个敢于痛骂和反抗日军的还是个招村民讨嫌的疯子),反而突出展示和集中夸大了其愚昧、麻木、奴性的一面,另一方面,不仅没有充分暴露日本军国主义的侵略本质,反而突出渲染了日本侵略者耀武扬威的猖獗气势,由此导致影片的基本立意出现严重偏差。
影片多处出现污言秽语,并从日本兵口中多次辱骂“支那猪”,另外还有女性的裸露镜头,整体上格调低俗,不符合《电影审查规定》的标准。影片片名须按电影局多次要求重新选择。影片须在参照附件认真修改后,重新报请审查。 附:《影片<鬼子来了>与批准立项剧本主要不同之外》

  《影片<鬼子来了>与批准立项剧本主要不同之处》

一, 擅自修改、增加情节导致影片基本立意出现严重偏差:

1,剧本第7至8页,原文学剧本中众村民审日本兵花屋及汉奸董汉臣时,并未表现出恐惧,喝斥他们:“要闹歪,没你香饽饽吃,”,“掺假可整出你的黄来”等。而影片却表现村民一开始就惧怕他们。并增加第240镜五舅老爷台词:“我看你们也都是孩子”,将中国百姓表现得愚昧无知、敌我不分。

2,对给鬼子吃细粮的情节,在文学剧本阶段,电影局始终坚持删掉,但影片不仅未删,却反复渲染马大三向二拨子娘借米那,约定借一还八,从村民还热热闹闹给日本兵和汉奸包饺子。客观上表现了战争时期的中国百姓在生活极度困难之时,并主动关心日兵和汉奸,严重违背了历史。

3,第1027镜;影片较之文学剧本增加了二拨子娘台词:“日本子来咱们村都八年了,八年了咋的,他八年了他敢动我一根汗毛?我行的正,走的端,我走到哪他都得高看我一眼。”日本侵略者在中国烧杀抢掠八年,犯下滔天罪行,影片却借二拨子娘之口说日军对自己秋毫无犯,美化了日本侵略者。

4,第472镜至496镜,影片较之原剧本增加了日兵花屋想象马大三带乡亲们冲过来的一段,并将马大三和乡亲们设计成日本武士的样子。在抗战大背景下,日兵花屋最惧怕的应是抗日队伍,是八路军、游击队,马大三和乡亲被设计成日本武士的情节不仅虚假,也丑化了中国人。

5,第877镜至893镜,第918镜至931镜,第941镜至947镜,第954镜至959镜,影片较之原剧本增加了村民以为马大三杀了鬼子,都不理他,甚至鱼儿也躲着他,使马大三神经受刺激的情节。表现了中国众多百姓对日军没有应有的仇恨,以至敌我不分、愚昧麻木。

6,1002镜至1069镜;影片较之原剧本增加了小孩学日本语造成危险之后,众村民向马大三发火,一个个争着让他杀了自己,并把头放到了桌子上的情节;鱼二跟村民说:“让他杀人,那不是让我怀鬼胎吗……看看这两天,你们谁搭理他了……不杀人,逼我们杀人,杀了人,又不搭理我们,见了马大三跟见了鬼似的,人没死,冲我们又弄这个……”表现了中国百姓不仅不敢抗敌,而且对侵略者充满奴性和恐惧,对自己人只会窝里斗,互相猜忌。

7,剧本第34页:原剧本中一刀刘讲自己杀人技巧时,说的是杀偷情的太监,而影片第1177镜至1199镜,改成了一刀刘杀的是“慈禧身边的八大臣”,“百日维新之主谭嗣同”,不仅赋予了新的政治内涵,并对砍头技巧加以自豪的渲染,结果杀日本兵时却遭失败,感叹“英名一世,毁于一旦”,最后狼狈逃走。给人以千百年来中国人只会举起屠刀杀自己人,却不敢抵御外侮的隐喻。

8,剧本第39页,大家商量送鬼子回去一场,原文学剧本中描写日军到了村中,将大米洒成一圈,将百姓圈住,逼百姓吃饭,吃不下的还按住头往嘴里塞,日军队长讲话时,百姓们都不理他。而影片第1763镜至1871镜,将这场戏改为联欢,并大力渲染,一起喝酒唱歌,百姓们感激不尽,日军与村民亲如兄弟,并有“今儿我高兴,不单是冲这几车粮食,主要是冲皇军给了我们面子”等台词,这是对剧本立意的重大改动,从根本上悖离了主题。

10,剧本第47页至49页;屠杀村民场面,原文学剧本中有百姓终于醒悟,奋起反抗的描写,如二拨端起钢盔砸向日本兵,二拨子娘脱下鞋打鬼子,并喊道:“别傻了,抄家伙拼吧”。但影片第1872镜至2073镜,百姓们至死也未与鬼子拼斗,面对屠杀基本是束手待毙,任人宰割。

11,影片中唯一一个敢于痛骂和反抗日本侵略者的人还是招村民讨嫌的疯子。

12,影片较之文学剧本增加了国民党将领召集百姓聚会的场面,他公开处死汉奸,发表受降讲话,在讲话中说:“只有国军才是投降日军唯一合法的接收者。”并借日本人之手杀死马大三。而这一切颠倒事实的行为,却得到了围观百姓的呼应,严重歪曲了历史,没有达到批判和讽刺国民党的效果。

13,影片中有两个唱小曲的人物,共出场三次,原文学剧本中无此描写。镜头第1099“皇军来到咱家乡,共建大东亚共荣圈,皇军来了救苦救难……”这样的台词也是增加的。这是典型的愚昧、麻木、亡国奴的形象。

14,疯老七骂大三与鱼儿的话和骂日本鬼子的话内容相同,十分不妥。

15,片中多处借日本人之口辱骂中国人为“支那猪”,严重损害中国的形象。

二,剧本批复中曾提出修改意见,但影片未改之处:

1,剧本第2页:野野村变完把戏之后将糖装回兜里,以表现日军在捉弄孩子。现影片第24镜头,不仅给了糖,而且还几次表现中国孩子追在日军后边要糖吃。

2,剧本第2页:马大三与鱼儿在床上剧烈的喘息声、鱼儿裸体镜头原文学剧本已经将其删除。影片第28至41镜不仅未予删除,还增加了台词:“让我看看。”“看啥呀,快点的,别歇着。” 这段床上戏时间长,画面、声音效果强烈,给人造成强烈的不良的感官刺激。

3,剧本第40页:毛驴发情一场,原文学剧本中已改为毛驴钻入鬼子粮仓。现影片第1590镜至1606镜,未做修改。此情节格调低俗、无聊。

4,原文学剧本中已将绝大多数脏话删改,但影片中比比皆是,每个人物都在骂脏话。

5,影片中频繁吹奏日本军歌,为日本军国主义扬威造势,会严重刺伤中国人民的感情。

China increases foreign movie quota, so what does it solve?

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On 18 February, an agreement was concluded between China and the United States concerning market access quota and conditions for American cinema films.  According to the People’s Daily, the agreement states that China will import 14 American films per year more than before, and that the cut of revenue-sharing box office income will increase from 13% to 25%. The LA Times also reports that the deal will enable independent producers to negotiate higher licence percentages that are comparable with commercial rates in other markets. Read the rest of this entry »

Outline of the Cultural Reform and Development Plan during the National “12th Five Year Plan” Period

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Update: now fully translated.

The “12th Five-Year Plan” period is a key period for completely constructing a relatively well-off society, and is also a key stage in stimulating that culture develops both well and quickly. In order to deepen the implementation of the spirit of the 6th Plenum of the 17th Party Congress, deepen cultural structural reform stimulate the grand development and grand flourishing of Socialist culture, further arouse a new high tide of Socialist culture construction, strive to construct a strong Socialist culture country, according to the “Central Committee of the Chinese Communist Party Decision Concerning Deepening Cultural Structural Reform” and the “Outline of the 12th Five-Year Plan for National Economic and Social Development of the People’s Republic of China”, this Outline is drafted. Read the rest of this entry »

State Council publishes Draft Film Promotion Law

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The State Council has issued the opinion-seeking draft for the Film Promotion Law (电影促进法) that has been on the cards for some time. It’s quite a long document, but I’ll make a translation available soon. Content regulation is further tightened, as the new law outlaws resistance against the constitution and promotion of religious fanaticism. At the same time, the draft states it is aimed to lower barriers to market access and benefit market subjects, provide structured support to the film sector and standardize the film market.

Film Industry Stimulation Law of the People’s Republic of China (Opinion-Seeking Draft)

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Chapter I: General Principles

Article 1: In order to stimulate the flourishing and development of the film industry, enrich the popular masses’ spiritual cultural life, raise the ideological and moral quality and the scientific and cultural quality of citizens, this Law is formulated.

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State Council Legal Office Explanation Concerning Public Opinion Seeking on the “Film Industry Stimulation Law of the People’s Republic of China (Opinion-Seeking Draft)”

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In order to further strengthen the openness and transparency of legislation, and raise the quality of legislation, the State Council Legal Office has decided to publish the  “Film Industry Stimulation Law of the People’s Republic of China (Opinion-Seeking Draft)” (hereafter simply named “Opinion Seeking Draft”), to solicit the opinions from all walks of society. Hereby, relevant issues are explained as follows:

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Central Committee of the Chinese Communist Party Decision Concerning Deepening Cultural Structural Reform

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The 6th Plenum of the 17th Central Committee of the Chinese Communist Party has completely analyzed the situation and tasks, and is of the opinion that summarizing the rich practice and precious experience of our country’s cultural reform and development, researching the deployment of deepening cultural structural reform, promoting the grand development and grand flourishing of Socialist culture, further arousing a new high tide of Socialist cultural construction, has a major and profound significance for seizing complete construction of the new victory of constructing a moderately well-off society, initiating a new dimension for Socialist undertakings with Chinese characteristics and realizing the great rejuvenation of the Chinese nation. The Plenum has made the following Decision.

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Opinions on the Implementation of the Radio and Television Intellectual Property Rights Strategy

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SARFT Notice Concerning Printing and Circulation of the “Opinions on the Implementation of the Radio and Television Intellectual Property Rights Strategy”

 

12 November 2010

 

On 12 November, SARFT has issued the ‘SARFT Notice Concerning Printing and Circulation of the “Opinions on the Implementation of the Radio and Television Intellectual Property Rights Strategy”‘ to all provincial, autonomous region and municipal radio, film and television bureaus, the Xinjiang Production-Construction Corps radio and television bureau, all SARFT organ departments and all directly subordinate work units, the Notice says that, in order to implement the spirit of the 5th plenum of the 17th Party Congress, according to the “National Intellectual Property Rights Strategy Outline” and the “Cultural Industries Promotion Plan”, SARFT formulated the “Opinions on the Implementation of the Radio and Television Intellectual Property Rights Strategy”, which had been passed by the SARFT departmental meeting. It is hereby issued to you; please earnestly implement it in integration with reality.

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Film Work Collective Copyright Management Use Fee Transfer Payment Rules

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According to the “Copyright Law of the People’s Republic of China”, the “Collective Copyright Management Regulations” and the “China Film Copyright Association Constitution”, these rules on payment to rights holders of film work copyright use fees are formulated. Read the rest of this entry »

Film Work Copyright Collective Management Use Fee Collection Standards

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According to the relevant provisions of laws and regulations such as the “Copyright Law of the People’s Republic of China” and the “Collective Copyright Management Regulations”, etc., learning from domestic and foreign collective copyright management groups’ pricing scales, integrating the present realistic situation of China’s film copyright trade, through broad and deep investigation and research, and fully hearing the opinions of rights holders and users, for film work use in the area of mass media, these film work copyright collective management use fee collection standards are formulated. Read the rest of this entry »

Announcement Concerning Complete Implementation of the “One Filing, Two Examinations System” for Films

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The “Notice Concerning Improving and Completing Film Script (Outline) Filing and Film Examination Work” (hereafter simply named “Notice” has been printed and distributed to all provincial, autonomous region and municipal radio, film and television bureaus (hereafter simply named “provincial-level radio, film and television entities”) nationwide and all film production work units nationwide, the “one filing, two examinations system” for films has been successively launched. Now, the relevant concrete matters are announced as follows: Read the rest of this entry »

State Council Report concerning the Cultural Industry Development Work Situation

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28 April 2010, 14th Meeting of the 11th National People’s Congress Standing Committee

Minister of Culture: Cai Wu

Committee head, all vice-Committee heads, secretary-general, all Committee members Read the rest of this entry »