The government advocated socialist ideologies but which however could not be marketed on the global market since these did not appeal to the post modern types of films. It is for this reason that the Fifth Generation films took a radical approach in their development and could be viewed as rebellious. Though they were banned on the domestic market, they received significant appreciation on the global market.
The fifth generation films specifically moved from a usual Chinese Kung fu movie towards depicting a disintegrating socialist background. This is illustrated in the film tilted (Platform 2000) which shows the successful troupe of cultural workers from Fenyang to the countryside. The other issue is that Jia’s films are primarily concerned with portraying a sociological perspective with regard to the social problems caused by the Chinese development. For instance, the films focused on issues such as destruction of the environment, neighborhood s as well as the destruction of families as some of the problems caused by contemporary Chinese development. Jia also incorporated pop music in his films as a form of entertainment given that his childhood was characterised by complete lack of entertainment. The arrival of Japanese pop music and Hollywood films had a liberating effect since these revolutionized the Chinese film. The other issue that characterized Jia’s films is that he was concerned about portraying reality through the camera.
The sixth generation on the other hand not only rejected the metaphysical image of China but reflected a polarized society. However, the sixth generation film is of the view that a paradigm transformation about the way the camera portrays reality should be confronted and all the contradictions should be captured. For instance, xiancheng is is a true reflection of socialist industrialization failure. This has in fact led to cultural poverty as depicted in Jia’s films. The