Jia Zhangke is a Chinese screenwriter and the director of films who born in 1970 on May 24. Within the 6th era development of the cinema of China, he regarded as a driving figure. Concerning the development of Chinese cinema could be a gather that incorporates as, Lou Ye, Zhang Yuan, Wang Quan'an, and Wang Xiaoshuai. The primary film of him is based in his domestic area of Shanxi known as a loose trilogy. This film is considered as an underground film as this film is made out of China’s film bureaucracy. Starting within the year 2004, Jia Zhangke's status in his country got to be higher and higher when he was allowable to facilitate his fourth component film named The World, with the approval of the state (Luo & Yaxi, 2017).

Adding more, the movies of Jia have gotten basic acclaim and have been perceived universally, remarkably winning the Venice Film Festival's known as VFF top honor Golden Lion for Still Life. NPR authority John Powers applauded him as “the most significant movie producer functioning on the planet today."

From his first film named as Xiao Wu, his movies have been portrayed by a noteworthy individual and legitimate intrigue. As watchers, in about 10 years we have watched a progressing procedure of the executive's arrangement with authenticity as a method of film portrayal. With their emphasis on China's progress from an arranged economy to extreme procedures of urbanization and globalization, Jia Zhangke's movies can be viewed as an onlooker's records, uncovering the sudden changes of the general public in transformation.

Moreover, to state that Jia Zhangke's movies epitomize an individual and bona fide intrigue, I allude to two faculties of the significance of "offer." In the main occurrence, his movies request to us on account of the engaging quality of their touch and narrative feel. Watchers are dazzled by his sensible depiction of the details of Chinese urban communities in rough change, regardless of whether enormous or little, commonplace, or metropolitan. They are similarly astounded by Jia's persevering exertion to record individual and aggregate recollections emerging from the phenomenal changes in post-communist China (Benčin & Rok, 2018).

Discussion of Representing Contemporary China through Film

Xiao Wu is a film that catches the vacancy of its characters' presence, which shows us their estrangement. In any case, it isn't just worried about existential apprehension. It unequivocally passes on a feeling of the annihilation that Stalinism has created in China. The story itself is thin. Xiao Wu, the focal character of essayist chief Jia ZhangKe's introduction film, is a common pickpocket. He has grown up a hoodlum in the Fenyang area where the film recommends, there was little else for him or individuals like him. The entirety of his colleagues grew up as frivolous lawbreakers as well (Sun & Jessica, 2017).

We chase after Xiao Wu Fenyang as he takes wallets. Dissimilar to his companions who have quit any pretense of stealing, Wu has stayed a pickpocket. He discards ID cards and works with the money that he takes. His is a money robbery economy, however, circumstances are different. The police encourage Wu to "gain proficiency with another exchange". All his previous colleagues have gotten increasingly advanced, have become little "representatives". His one-time closest companion Xiao Yang has quite recently been named a "Model Entrepreneur" for his cigarette dealing exercises. Everybody is eager for advancement. This is the genuine substance of "socialism with Chinese attributes".

Xiao Yang has not welcomed Xiao Wu to his wedding ceremony. Wu speaks to the gutter from which Yang feels he has ascended through his progressively complex practices. At the point when they were youthful poverty-stricken hoodlums together, Wu had vowed to give Yang 3 kilograms of Yuan charges as a wedding present. Yang is over that now and is humiliated to be helped to remember the guilelessness of that way of life. The dismissal of the cash isn't just an image of the separation Yang has voyage by and by. At the point when Wu clarifies about the guarantee, he calls attention to that it was made in the days before 100 Yuan notes were available for use when 10 Yuan was the most elevated group accessible (Fan & Victor, 2016).

Mei, a karaoke bar leader, offers Wu the main delicacy we find in the film. She also is caught, singing for her different clients. She lies on the phone to her mom, saying that she is an on-screen character in Beijing. At the point when she welcomes Wu to sing with her he denies gloomily. Gradually she separates him. He takes an ever-increasing number of wallets to get her presents and blows up when she is as yet working in the bar. He gets her a ring, however, when he goes to see her she has gone.

Xiao Wu's family are laborers, despite everything working the land, who think he is an insubordinate nitwit. He gives his mom the ring that he got for Mei, and afterward ejects irately when he sees it being worn by his sibling's life partner. His dad pursues him from the house. He takes a gander at the disintegrating and parched worker scene around him and comes back to the clamor of the town and an amazing sureness of robbery. In the end, the police clampdown finds him.

What seems to start as a grainy glorification of negligible "legit" wrongdoing progressively rises as a depiction of that wrongdoing, not as a sentimental disorder, yet as an old fashioned type of business exchange? What Jia ZhangKe leaves us with is a basic and viable depiction of the vacuum at the core of contemporary Chinese society. The main future for Wu is to turn into an increasingly effective lawbreaker. He unexpectedly alludes to himself as a craftsman, gaining his living by his hands, and says that this makes him "still a sham" without the minds for doing any sort of business.

As of the beginning, it can understand that this is a culture adrift, and one can observe several indicators to the cause for this. Moreover, when traveling on a means of transportation crosswise the countryside which is covered in dust, Xiao Wu fobs off demand for his charge by stating to be a police officer. At the instant, he is gone neglected he choose the pouch of the person along for the ride next to him. The plan is interrupted by a representation of Mao Zedong that is hanged from the backsight mirror of the driver. From the start, one can observe that Jia is building a relationship among the political state of affairs and the individual circumstances (Wang & Xiaoping, 2019).

Going further, Jia lays a portion of this symbolism on thickly, even though it is as yet viable gratitude to some fine and straightforward camera work from the Hong Kong producer Yu Lik-Wai. It should likewise be said that the images he has picked (a pack of Marlboro at the cost of a container of neighborhood cigarettes, a lighter that plays "Für Elise" in a tinny mechanical tone) do sound valid. Wu is inevitably fixed by the pager he purchased so Mei could stay in contact with him. It blares as he is picking somebody's pocket. At the point when the police, at last, read the message to him, it is just a climate conjecture. It is clear, at that point, that Jia sees no future in the mechanical knickknacks that are the staples of the bootleg market.

Also, the TV screens that structure the premise of Mei's karaoke singing are viewed as appealing yet vacuous. The main occasions we see TVs are in the karaoke bar and when the commonplace station in Fenyang runs a progression of meetings commending the police clampdown and decrying the hoodlums. The main time we see the nearby journalist is the point at which she is either leading those meetings or talking Xiao Yang just before his wedding to pass on all the best of the territory. Jia is doubtful about both what Beijing is bringing for the Chinese individuals and how it is introduced by the media.

Simultaneously, he knows that there is no returning. I don't have the foggiest idea of what future Jia imagines for China. It is conceivable that he sees no chance to get out of the horrible circumstance wherein the nation currently gets itself. The film, all things considered, is about the adequacy of individualistic endurance systems. Jia surely observes the defilement of the underground market as spreading over the entire society. Any feeling that Wu can escape back to the land and his folks' vanishes after his dad pursues him away (Holtmeier & Matthew, 2014).

The camera, from Wu's perspective, dish all-around a broke provincial scene of ponies, heaps of wood, abandoned structures, and earth tracks, while on the soundtrack we hear Shanxi Radio inviting the get-together of Hong Kong with China. The shot echoes the scene when Wu finds that Mei has left and he turns all-around in her unfilled room. The film isn't without its snapshots of silliness. At the point when Wu lets one know of Yang’s attendants that acquiring cash from dealing and abuse is not spotless, the message returns, “It’s not dealing, it’s organized commerce. Also, the young ladies aren’t being misused, it’s a diversion. That’s it in a nutshell.” That a film about the absence of an ethical focus to Chinese society oversees snapshots of diversion and isn't unremittingly dreary is a confirmation both to Jia and to his altogether beginner cast, especially Wang Hang Wei as Xiao Wu.

The second sensation of "demand" can be followed back to the etymological setting of the law court where a sincere supplication is made. Over 10 years prior, when Jia's first short movies and his introduction include Xiao Wu developed, he caused viewers to notice the historical backdrop of the 1980s, which could be viewed as a vacuum, as there were no visual records of his age. In a meeting, he guarantees that by "narrative," he alludes to the "recollecting of individuals' emotions and musings"; it follows that these visual recollections are not restricted to narrative authenticity (Wang & Xiaoping, 2018).

In its later stage, Jia's autonomous filmmaking is described by its propensity to corporatize as opposed to raising reserves separately. He once commented that "corporatization" of filmmaking could ensure executives' advantages, and that a decent and solid creation framework would be useful for autonomous filmmaking, helping the spread of a free soul and the development of youthful film craftsmen.

These adjustments in method of filmmaking have denoted a critical change from a person's solitary endeavors to elective methods for shaping trans-outskirt associations inside the arrangement of worldwide free enterprise. These elective methods of corporatization have opened up open space outside the territory across geopolitical limits and state of the nation. Considering this direction throughout the years, Jia Zhangke can be seen exploring among private and open spaces to recount to individual and aggregate accounts of contemporary Chinese individuals.

Jia exploited his prosperity with Xiao Wu with two universally commended autonomous highlights. The principal, Platform, was mostly subsidized in 1998 through the PPP of the Busan International Film Festival when Jia got the Hubert Bals Fund Award (HBF) for his venture. The stage was a three-hour heroic about a common move and music troupe changing from the years the 1970s to the mid of 1990s. The movie has been known as the perfect work of art of the whole 6th era development. Featuring Wang Hongwei, Jia Zhangke’s cohort, and star of Xiao Shan Going Home and Xiao Wu, Platform was likewise the first of Jia Zhangke movies to star on-screen character Zhao Tao, a previous move instructor (Desser & David, 2011).

Zhao would proceed to fill in as dream of Jia Zhangke as the lead female job in the movies named as Unknown Pleasures, The World, and City. In the year 2003, Jia Zhangke, Yu, and Chow established Xstream Pictures, a creation organization situated in Hong Kong and Beijing that co-delivered The World with Office Kitano, Celluloid Dreams, and Shanghai Film Studio. Its subsequent creation was known as Walking on the Wild Side that came into being in the year 2006, a co-creation with Les Petites Lumières coordinated by first-time movie producer Han Jie. It won the Best Film award at the 2006 Rotterdam International Film Festival (Ryland, 2008).

Conclusion of Representing Contemporary China through Film

From the above-written details, it becomes clear that the movies of Jia Zhangke investigate the lives of individuals caught on the edges of the culture of China. He depicted the representation of people on margins of culture through his films. From his first characteristic of Xiao Wu, Jia Zhangke's movies have been portrayed by a great individual and legitimate intrigue. Xiao Wu is a film that catches strikingly the void of its characters' presence, which shows us their estrangement. In any case, it isn't just worried about existential apprehension. It unequivocally passes on a feeling of the obliteration that Stalinism has fashioned on China. The story itself is extremely thin. Xiao Wu ("little Wu"), the focal character of author-director Jia ZhangKe's presentation film, is a common pickpocket. He has grown up a criminal in Fenyang territory where the film proposes, there was little else for him or individuals like him.

The entirety of his associates grew up as frivolous lawbreakers as well. Chinese individuals feel disparity unequivocally in their everyday lives. They thoroughly understand imbalance, it's an obvious fact, everyone knows about it. Right now, the most grounded wellspring of discontent in China is this part (Xinhua) between the rich and poor people. His movies are set, “the second, Platform”, happens somewhere in the range of 1971 and 1990, the story of Xiao Wu is set in the mid-1990s, “Unknown Pleasures” around the year 2000, and the most recent film, “Shijie”, happens in the present. He is prevailing in shooting the lives of Chinese youth from the finish of the Cultural Revolution towards the present.

References of Representing Contemporary China through Film

Benčin & Rok, 2018. Temporalities of Modernity in Jia Zhangke's Still Life. Filozofski Vestnik.

Desser & David, 2011. Reclaiming a legacy: The new-style martial arts saga and globalized entertainment.. East Asian Cinema and Cultural Heritage. Palgrave Macmillan, New York, pp. 1-25.

Fan & Victor, 2016. Revisiting Jia Zhangke: Individuality, subjectivity, and autonomy in contemporary Chinese independent cinema." The Global Auteur. The Politics of Authorship in 21st Century Cinema, p. 323.

Holtmeier & Matthew, 2014. The wanderings of Jia Zhangke: pre-hodological space and aimless youths in Xiao Wu and Unknown Pleasures.. Journal of Chinese Cinemas, pp. 148-159.

Luo & Yaxi, 2017. A people's director: Jia Zhangke's cinematic style.

Ryland, 2008. At the cinematheque: "Xiao Wu" (Jia Zhangke, China, 1997). [Online]
Available at: https://mubi.com/notebook/posts/at-the-cinematheque-xiao-wu-jia-zhangke-china-1997

Sun & Jessica, 2017. Jia Zhangke–Dialects in his films.

Wang & Xiaoping, 2018. China in Transition: Jia Zhangke’s Hometown Trilogy. Postsocialist Conditions. Brill, pp. 49-112.

Wang & Xiaoping, 2019. China in the Age of Global Capitalism: Jia Zhangke's Filmic World. s.l.:Routledge.