wang xiaoshuai beijing bicycle
However, rapid industrialization has brought together distant neighbors. The divide between the country and city people in the film is indeed quite rigid as Guei discovers. I really enjoyed this movie for it's innocence and authentic feel. For Guei the bicycle is necessary for him to earn a living, but it also has symbolic and emotional value. These essays serve to interpret some of the many complex personal issues and social tensions that are emerging in the fast developing China as it gains more presence on the world stage. The multitude of stratifications between the greater Chinese people further complicates the issue. The viewer is repeatedly reminded that Guei is “so stubborn.” His employers heartlessly mock him for this as they fail to understand that when his bike disappeared, so did his chances. Film, Drama. Literally and figuratively the bicycle built up and broke down social class structures present in contemporary China. Within the world’s general understanding, the political ramifications of China’s unprecedented growth undermine the social cost affecting its people. The disparity between the rural and urban mentality is striking. on March 21, 2016. While "Beijing Bicycle" gives us a colorful portrait of that sprawling city, its simplistic story lacks enough complexity to be a full-length film. After retiring from his government ambitions, he hopes to settle back down in Florida to teach history. The movie’s tragic resolution ultimately turns a coming-of-age story into a cautionary tale about market forces unleashed upon a generation that lacks any means of constraint. Shot over the course of ten years on both film and video, the film consists of a series of carefully composed tableaus of people and environments, each one more extraordinary than the last. He is commonly grouped under the loose association of filmmakers known as the "Sixth Generation" of the Cinema of China. The girl does not care that he has lost his bike and is so out of touch with differences between the city poor and rich that she suggests, “it’s just a bike, and you can always buy a new one again.” However, the shocking truth is that Jian cannot afford such an expense as he had to steal the money from his father just to acquire it. Contemporary Chinese problems are resulting in a cultural crisis, because divergent social classes have been crammed into a clumsy coexistence. The ubiquity of such an everyday object, while reflecting the mundane and the superficial also reflects the opportunity for individual connections to be forged in a meaningful way. They realize she was just a servant for a wealthy family and enjoyed trying on clothes she could never actually afford. While Guei appreciates his bicycle and respects its value as a tool needed in order to perform his job; Jian, a city boy, exploits the bicycle mercilessly as a status symbol that puts him above all others even though he himself is from a poor family at the bottom of the city. He served for ten years in the US Army. Directed by Wang Xiaoshuai. WXS Studio(Wang Xiaoshuai studio) Wang Xiaoshuai: Chinese film director, screenwriter. One of the sub-plots in the movie also represents the illusory nature of the dream these teenagers are chasing. Beijing Bicycle 2001, PG-13, 113 min. Jian desires the bicycle for different reasons. Cast: Li Shuang Zhao Yiwei Cui Lin Li Bin Pang Yan Zhou Xun Gao Yuanyuan. There's a version of the film on Vimeo that is about 5 minutes shorter than the version I've uploaded. From acclaimed director Wang Xiaoshuai (Beijing Bicycle; So Long, My Son) comes a personal snapshot of contemporary China in all it's diversity. They are left to discover she was but a maid from the countryside. Met with a rather shy, stubborn, and determined young man—Guei, the film details the awkwardness of the country boy in a constantly modernizing and ever-changing city atmosphere. A seventeen-year-old country boy working in Beijing as a courier has his bicycle stolen, and finds it with a schoolboy his age. City people seem to operate and exist solely to pursue wealth and money, and in fact equate their very happiness to the amount of money they have and possessions they own. Driven to steal family savings allocated for his young stepsister’s education, Jian, like Guei, is at odds in facing the social hierarchy surrounding him. Bicycles are as synonymous with Beijing as cabs are with Manhattan, and when the hero of Wang Xiaoshuai's superb and harrowing "Beijing Bicycle" joins the swarm of â¦ Guei wanted to make a move on her and was quite attracted to her. When Guei tracks down the bicycle, a desperate struggle ensues. In his eyes, lasting in his job long enough to earn the bicycle outright will benchmark his success. Throughout most of the movie Guei and Jian are at extreme odds with each other. A large amount of emphasis is placed upon smoking cigarettes in order to look cool and fit in. Intertextuality in Beijing Bicycle Intertextuality is a concept that occurs in many mediums of art, especially film. The “Chinese dream” is both real and somewhat of an illusion. Demographic disparities have rendered the Chinese population disconnected from itself. Beijing Bicycle is a subtle, beautifully made film and a seemingly good-natured social commentary on contemporary Beijing. . This suggests something about how the urban and rural Chinese ought to pursue their economic interests; in a spirit of cooperation rather than fierce cut-throat competition. Beijing: Pyramide, 2001. kiaba360 He finds work with a delivery service that cleans him up, clothes him, and lends him a bicycle : a magnificent silver mountaint bike. Director Wang Xiaoshuai ("Beijing Bicycle," "So Long, My Son") delivers an intimate, minimalist documentary with "Chinese Portrait." He is married with four children and now resides in Metter, Georgia where he enjoys making muscadine wine and hopes to become a history teacher. In effect, this common sentiment foments compromise between the two. The attractive girl whom Guei and his friend perceived as rich is another element of the movie that is quite ironic. Set in contemporary Beijing, the film traces the fortunes and misfortunes of two seventeen-year-old â¦ Starring Cui Lin, Li Bin, Zhuo Xun, Gao Yuanyuan, Li Shuang, Xie Jian. When it is stolen, Guei hunts for it. An identity crisis ensues from which one may extrapolate the whole of China is suffering—an alleged communist society practicing capitalism and plastering advertisements on any available space eyes may glance at as a mere boy navigates its streets absolutely full of people who care more about money than morality. Lack of definition then breeds conflict. Wang Xiaoshuai Shiqi sui de dan che/ Beijing Bicycle (2001) is centered upon class conflict and the urban-rural divide in capitalist China. This illustrates the complexities and tensions of surviving and negotiating oneâs identity in the changing China. The way Jian frivolously spends his money obtaining the bike and impressing his friends at the arcade exemplifies the arrogance of youth and delinquency. Guei is a teenager from the country who lands a good job as a bicycle messenger on the teeming streets of modern-day Beijing. THE NEOREALIST film Beijing Bicycle, by Wang Xiaoshuai, is heavily modeled on De Sica's The Bicycle Thief, but it misses the grace, the humor of its source, and can be safely categorized as regional cinema. Wang Xiaoshuai's film Beijing Bicycle covers a number of themes which other films within modern Chinese cinema tackle in various ways. Xiao, in a gesture to comfort him, remarks, “It’s just a bike.” A girl of a wealthier household, she is in no position to understand. Fatefully, on the very day he earns enough to take ownership of the bicycle, it is stolen and ends up in the possession of Jian, a Beijing local schoolboy. The story comes full circle as both boys lose the bike in an ally brawl, but not without having learned to fight for their place in society. with Cui Lin, Li Bin, Xun Zhou, Gao Yuanyuan, Li Shuang... Beijing today. Where Guei’s predicament reflects cultural shifts, Jian’s reflects economic ones. Directed by Wang Xiaoshuai in 2001 the film revolves around a poor country teen Guei who came to Beijing to seek work and a schoolboy Jian from a working-class family in the city. The first essay considers the distinctive Chinese frame of mind that motivates and inspires the characters to try to overcome their underprivileged circumstances. © 2020 Armstrong Undergraduate Journal of History, Online ISSN 2163-8551. At the beginning of the movie, Guei presents the bicycle to his friend, both brimming with optimism in front of his quaint corner convenience stand. The film stars first-time actors Cui Lin and Li Bin, supported by the already established actresses Zhou Xun and Gao Yuanyuan. In 1981, Wang enrolled in the high school affiliated to the Central Academy of Fine Arts in Beijing, with then intention of becoming a painter. In Beijing Bicycle, Wang gave priority in the narrative to individual growth as well as the transitions taking place within the city itself. This is a wonderful story of a chinese migrant kid who moves from the village to Beijing to find a job and all the problems that come with it. Sadly, a relationship never came to fruition to which Guei’s friend laments, “if I only knew she was from the country.”. For navigating the congested metropolitan highways or the impoverished back alley districts, their widespread utility in burgeoning urban China is visually unmistakable. Beijing Bicycle. During the brief moments in which the bike was in each of their possessions, they each experienced a feeling of personal solidarity. We hope that from the chaos around the bicycle in the rapidly industrializing city of Beijing the reader can sense the seamy side of “capitalism with Chinese characteristics.”. Jian likewise finds himself contending with the skewed perceptions he attributes to the bicycle. Wang Xiaoshuai, the director of ''Beijing Bicycle,'' is younger than Mr. Zhang, part of a generation that has concerned itself with naturalistic, sometimes â¦ Patrick is a Savannah native and a history major at Armstrong. The film Beijing Bicycle is an illuminating account of the effects that some of the Chinese people were exposed to and encountered as China, without hesitation, ventured down a path to fuse capitalism and socialism after 1978. Wang Xiaoshuai (simplified Chinese: çå°å¸ ; traditional Chinese: çå°å¸¥; pinyin: Wáng XiÄoshuài; born May 22, 1966) is a Chinese film director, screenwriter and occasional actor. Based on the shorter runtime, I'm going to assume that the Vimeo version is a censored copy. Citizens float between fleeting perceptions of an undefined area of society. The bicycle symbolizes the illusory nature of the “Chinese dream,” the necessity of adapting the dream to meet the demands of reality, and the tragic consequences of chasing this dream. A seventeen-year-old country boy working in Beijing as a courier has his bicycle stolen, and finds it with a schoolboy his age. The bike exists as the one constant in the story around which the characters interact and project their perception onto it. Representative works: Beijing Bicycle (2001), Shanghai Dreams (2005) , In Love We Trust (2007) and Red Amnesia(2014). Beijing Bicycle. BEIJING BICYCLE. To have the bicycle is to have respect; to lose it is to lose respect. Wang Xiaoshuai's moving, emotional BEIJING BICYCLE tells the story of a young country boy, Guei (Cui Lin), who comes to the big city determined to make it. When his status symbol is removed from the equation, even the rich girl interested in him at school becomes of no concern. The only thing they appear to share is a dogmatic attachment to the bike, for only they deeply feel how high the stakes are. His story opens with a cut and dry city life induction. The ban was evenâ¦ However, like all material objects, demand is often unlimited while supply is very limited. The two young men - and the people around them - are swept up in the youths' desperation.Â, Advanced embedding details, examples, and help, Terms of Service (last updated 12/31/2014). He is â¦ The film was also nominated for a Golden Berlin Bear and a Golden Satellite Award for Best Motion Picture, Foreign Language. Guei’s bicycle is stolen and sold to Jian and the events in the film become linked by the bicycle’s literal and metaphorical significance. A student, Jian, has it; for him, it's the key to teen society - with his pals and with Xiao, a girl he fancies. The “American dream” has often been defined in terms of the ability of the average person to pursue success, and over the years that success has been symbolized by various status symbols such as a house in the suburbs or a nice car. Like others in this generation, and in contrast with earlier Chinese filmmakers who produced mostly historical drama, Wang proposed a ânew urban Chinese cinema [that] has been mainly concerned with bearing witness oâ¦ In the movie the privileged few, reaping the rewards of modernity, exist on the periphery of the average Chinese plight, represented by Guei and Jian. Guei arrives from the country: toothbrushes, hotel foyers, and Qin, a rich neighbor in high heels, dazzle him. A bike messenger faces trouble in 'Beijing Bicycle' By Richard von Busack. The fight and its intensity mirror the interactions in Beijing between the city dwellers that were already facing a tough existence and the pressures added by the influx of people coming from the countryside. But for Jian to lose the bike would mean humiliation. Guei’s experiences in the city are a result of him trying to make a simple living as a courier. Directed by Wang Xiaoshuai. Drenched in irony, the film resembles modern China—a prosperous nation where people living in cities with populations exceeding millions can be left isolated and alone to fend for themselves in dark, dank corners due to a failure to adapt to China’s industrialization, globalization, and modernization. After earning the praises of his friends and romantic crush, Xiao, the loss of his bike leaves him out of place. Screenwriter: Wang Xiaoshuai, Tang Danian, Peggy Chiao, Hsu Hsiao-Ming. The opportunity is there but not everyone can grasp it. Beijing: young men in packs, machismo, class divisions, violence, and indifference. A poor boy from the countryisde, Guei, moves to the capital, buys an expensive bicycle and finds a job as messenger. In Wang Xiaoshuai’s movie Beijing Bicycle, the bicycle around which the movie’s plot revolves serves as a similar status symbol to two teenagers desperately fighting for possession of it. For both Jian and Guei to have a shot at their respective “Chinese dreams”, they eventually work out a time-sharing arrangement in which each gets use of the bicycle for certain periods of time. In the story, after some shady business, they fight for ownership of the very same bicycle. The film is a great reminder that while China is quite a rising power, this is not without a cost to its people. Guei and his friend “Mantis” discover a beautiful girl on the high-rise balcony who appears in an expensive new outfit daily. He is 16. The characters Guei and Jian individually struggle to navigate this uncertain landscape. You too can have the car, the apartment, the respect” (Rob Gifford, China Road, 192). It premiered at the Berlin International Film Festival on 17 February 2001 and won the Jury Grand Prix, but was subsequently banned in Mainland China. 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