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  1. 2 Kwartalnik Filmowy

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  1. 1 2010

  2. 1 2008

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  1. 2 Helman A.

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HISTORY, LEGEND OR FANTASY. FILM PORTRAYALS OF THE FIRST EMPEROR OF CHINA (Historia, legenda, fantazja. Filmowe portrety Pierwszego cesarza)

100%
Helman A.
Kwartalnik Filmowy
|
2010
|
issue 69
79-94
EN
When the terracotta army was found in 1974 within the burial complex of Qin Shi Huang, the First Emperor of China, previously familiar mostly to sinologists, entered popular imagination. The authoress presents the life of Qin Shi Huang, the man responsible for the creation of this incredible necropolis. She also describes myths and legends associated with the emperor (the construction of the Great Wall of China, assassination attempts, his descent etc). It is the assassination attempts that proved to be most inspiring to film directors and people responsible for the creation of TV series about Qin Shi Huang. Romance was also an essential element of the story. The authoress describes the most important films, which feature the First Emperor. She points out that with the exception of Zhang Yimou's Hero, where Qin Shi Huang is shown as a great ruler, in other films he is usually portrayed as a cruel and ruthless tyrant, devoid of human emotions, a megalomaniac desiring to be God. The storylines of these films are a mix of facts, legends and pure fantasy created by the scriptwriters.
2

The Decade of Fear

100%
Helman A.
Kwartalnik Filmowy
|
2008
|
issue 61
123-136
EN
The Cultural Revolution (1966-1976) - one of the greatest tragedies experienced by the Chinese people, caused great losses and permanent changes in the political, social, cultural and the moral sphere of life. It devastated the great material and spiritual legacy of the traditional Chinese culture. The authoress of the article presents the echoes of this period in the films of the most important representatives of the fifth generation: Chen Kaige (Farewell my Concubine, 1993), Tian Zhuangzhuang (The Blue Kite, 1993) and Zhang Yimou (To live, 1994). Through the analysis of particular scenes, Helman points to the fact that these films do not speak directly about what happened during the Cultural Revolution, as of course this topic was strongly disapproved of by the Chinese state. That is why Cultural Revolution is barely a back drop for the lives of the main characters of the films. According to the authoress, the strength of these films lies in their many verbal allusions, subtexts, and a complex network of icons and meanings, that are also readable for the Western viewer, who is neither Chinese nor aware of the history of the Chinese nation.
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