List of directors in China’s past dynasties

First generation directors: refers to the pioneers of Chinese films in the 1920s, such as Zhang Shichuan, Zheng Zhengqiu, etc.

Representative works include "Song Girl Red Peony", "Burning Red Lotus Temple", etc.

Second generation directors: refers to a group of directors who were active in the film industry in the 1930s and 1940s, such as Cai Chusheng, Sun Yu, Fei Mu, Wu Yonggang, etc.

His representative works include "City Night", "The Big Road", "Yuguang Song", etc.

Third generation directors: Directors who became active in the film industry in the 1960s, such as Zheng Junli, Xie Jin, Shui Hua, Cheng Yin, Cui Wei, Ling Zifeng, Xie Tieli, etc.

Excellent works include "War in the South", "White-Haired Girl", "Song of Youth", "Little Soldier Zhang Ga", "Early Spring in February", "Women's Basketball Team No. 5", "Furong Town", "The Opium War",

"Camel Xiangzi", "Border Town", "Spring Peach", etc.

Fourth generation directors: Directors who graduated from Beijing Film Academy or various film studios before the Cultural Revolution and emerged in the new era, such as Wu Yigong, Wu Tianming, Xie Fei, Zheng Dongtian, Huang Jianzhong, Huang Shuqin, etc.

He proposed that Chinese films "throw away the crutch of drama", advocate documentary, pursue a simple and natural style and open structure, and focus on exploring the philosophy of society and life.

Representative works include "Youth Festival", "Sand Owl", "Ben Ming Nian", "Little Flower", "Old Things in the South of the City", "Small Street", etc.

Fifth generation directors: A group of directors who graduated from the Film Academy in the 1980s, such as Chen Kaige, Zhang Yimou, Wu Ziniu, Tian Zhuangzhuang, He Qun, etc.

The work is particularly subjective, symbolic, and allegorical.

"One and Eight", "Yellow Earth", "Military Parade", "King of Children", "Zhasa in the Hunting Ground", "Red Sorghum", etc.

Sixth generation directors: The sixth generation directors generally refer to a group of young directors who entered the directing department of Beijing Film Academy in the mid- to late 1980s and began directing films after the 1990s.

Representative figures and their works include: Guan Hu's "Bullfighting", "Killing", "Get in the Car and Let's Go", "Messy Hair", "Old Paoer", Ning Hao's "Green Grass", Jia Zhangke's "Destined", "Old Paoer"

Xiao Wu" and "Platform", Zhang Yuan's "Mother" and "Beijing Bastards", Wang Xiaoshuai's "Winter and Spring Days", "Seventeen-year-old Bicycle", and A Nian's "Photosensitive Era".

Wang Yichi (Wang Qiang) "New Year", Lu Xuechang "Grown Up", Zhang Ming "Wushan Yunyu", He Jianjun "Postman", Lou Ye "Weekend Lover", "Suzhou River", Zhang Yang "Love Malatang"

, "Bathing", Wang Quanan's "Lunar Eclipse" and "Tuya's Marriage", Lu Chuan's "Nanjing!"

Nanjing!

"wait.

Seventh Generation Directors: Lu Chuan, Gao Peng, Li Fangfang, Chang Zheng and others. The films of China’s seventh generation directors are basically positioned in commercial films.

The director's responsibilities are: 1. Organize the main creative staff to study and analyze the script and find an appropriate form of expression for the script.

2. Work with other members of the producer and director team to select actors.

3. Select exterior scenes or guide the construction of indoor scenes according to the script and shooting requirements.

4. Guide the props team to complete the preparation and arrangement of props.

5. Direct the on-site shooting work.

6. Guide the work team to complete post-production, including editing, recording, theme music, animation, subtitles, special effects, etc.

7. Discuss the promotion plan of the work with the film producer.