小武
The post-1990 era has been labelled the "return of the amateur filmmaker" as state censorship policies after the Tiananmen Square demonstrations produced an edgy underground film movement loosely referred to as the Sixth Generation. Owing to the lack of state funding and backing, these films were shot quickly and cheaply, using materials like 16 mm film and digital video and mostly non-professional actors and actresses, producing a documentary feel, often with long takes, hand-held cameras, and ambient sound; more akin to Italian neorealism and cinéma vérité than the often lush, far more considered productions of the Fifth Generation. Unlike the Fifth Generation, the Sixth Generation brings a more creative individualistic, anti-romantic life-view and pays far closer attention to contemporary urban life, especially as affected by disorientation, rebellion and dissatisfaction with China's contemporary social marketing economic tensions and comprehensive cultural background. Many were made with an extremely low budget (an example is Jia Zhangke, who shoots on digital video, and formerly on 16 mm; Wang Xiaoshuai's "The Days" (1993) were made for US$10,000). The title and subjects of many of these films reflect the Sixth Generation's concerns. The Sixth Generation takes an interest in marginalized individuals and the less represented fringes of society. For example, Zhang Yuan's hand-held "Beijing Bastards" (1993) focuses on youth punk subculture, featuring artists like Cui Jian, Dou Wei and He Yong frowned upon by many state authorities, while Jia Zhangke's debut film "Xiao Wu" (1997) concerns a provincial pickpocket.