Thanks! Need revise! Comparing with Zhang Yimou, Jia Zhangke is more inclined to write and choose play books all by himself. Though he has been very famous in Chinese filmdom, his films are still considered as typical independent films. In China, those who were called independent film directors usually mean fewer audience and fewer commercial profits. To some extent, this kind of directors and films are actually signals of good taste, but only a few of people would like to purchase for them. Though this phenomenon is also not rare in Europe and the U.S, Jia still has to face this dilemma when he decides to direct any new films. However, many Chinese critics have pointed out that the era of Zhang Yimou has past as Jia begins to replace his statue in Chinese filmdom. Jia is the representation of new class’s favor: most of those who have received formal higher education and are enjoying the progress of economy start to focus on their individuals’ feelings and perplexities; without too many experiences of starvation and turmoil, they're seeking for their independent perspectives to observe, depict and value this world. Jia’s films provide them with a good opportunity to introspect their life and the society. Also, the themes of Jia’s films can always lead to much different interpretation. His ascetic style is much closer to modernism and postmodernism. Instead, Zhang Yimou is always trying to find an appropriate way to tell a good story. And his stress is the narration and the interpretation of the original works, but not the philosophical and superorganic introspection. Because he lacks the ability to write plays, he would like to spend more time on looking for good novels and fictions, or cooperate with famous contemporary writers. When it comes to his most famous films, we would find that most of them are the filmizations of novels. Actually, no matter how Jia Zhangke’s films are different with Zhang Yimou’s, the distinctions between their works are the differences between their times, experiences, backgrounds and aesthetics. As Chinese directors, they can both reflect their times: Zhang’s goal is to let the world know Chinese people; Jia strives to express the voice of his generation. Just like what Jia said: “No matter how poor Zhang’s works are, he is still an undoubted master in Chinese filmdom.” And now, Jia is working hard for surpassing this “master” while some people believe that he is head and shoulders above Zhang Yimou.

Zhang Yimou Meanwhile, Zhang Yimou, a famous Chinese director who has been considered as the most brilliant and representative in “Fifth Generation” directors, still focuses on the skills of narration and the communication with audience. Comparing with his works in ten and twenty years ago, such like Red Sorghum, The Story of Qiu Ju and Not one less, his current works gradually stress the entertainment. He always tries to provide an integrated story and demonstrate his view of point in his movies. By making good use of the cameras and narration skills, Zhang successfully put many famous literary works into screen. He has cooperated with many famous Chinese writers such as Liu Heng, Mo Yan, Yu Hua and Su Tong.

Jia Zhangke As one of the most typical directors in today’s China, Jia Zhangke constructed an independent style on presenting his introspection of Chinese society and culture. He tries to find out some points to reflect the panorama of the contemporaries in China. By depicting the average people’s life and minds, Jia found the paradox of Chinese people: on the one hand, they’re dying for the development of economy, on the other hand, their minds and consciousness can hardly transform with the rapid developing society. In fact, it is not only the contradiction between individuals and their circumstances, but also the conflict between progress and lag, east and west, tradition and modernity. The dilemma raises an issue: whether the traditional ideas are still worthy, and how can they face the current trend.