120 Years of Chinese Cinema: A Legacy of Innovation

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It’s uncertain if Ren Qingtai had any idea about the impact he would make when he initially requested a manually operated, wooden French camera for use, during the autumn of 1905.

It’s likely that he did so, given Ren’s intelligence and versatility, which were apparent well before the term “multi-hyphenate” came into use. Notably, he is also recognized as the director of China’s first film, titled Dingjun Mountain.

Or

Probably, he accomplished it. Ren was a brilliant man with a diverse skillset, a term we now call “multi-hyphenate,” decades before it was coined. Significantly, he is renowned for directing China’s first film, Dingjun Mountain.

As a passionate movie enthusiast, I can’t help but acknowledge that the creation of this particular film signifies a significant, symbolic landmark in our cinematic history. It represents the closing chapter of an era where Chinese cinema was absent or lacked homegrown productions by our very own people.

120 years ago, Ren began something remarkable. Fast forward to today, and China’s film industry stands as the second largest globally, with blockbusters like “Ne Zha 2” adding to its fame, even being celebrated at the Beijing festival.

The 15th installment of the Beijing International Film Festival is celebrating 120 years of Chinese cinema by featuring a unique program within the “Beijing Panorama” segment, which aims to highlight the progression of filmmaking in China throughout the decades.

Program organizer Sha Dan has expanded his search, resulting in a diverse array of offerings. This selection encompasses various gems, such as exclusive screenings of restored silent films like the 1927 releases “Spiders” and “The Goddess” from 1934, accompanied by live music scores. The program also delves into the early era of animation, featuring Asia’s first animated feature film, “Princess Iron Fan,” which was produced in 1941.

During the time of war in China, it was developed as a creative retelling of mythical stories, subtly incorporating themes of national redemption,” explains Sha.

As we journey through the annals of Chinese cinema, viewers have an opportunity to experience masterpieces like Fei Mu’s heartrending classic “Spring in a Small Town” – named the best Chinese film ever made in 2025 – and follow up with action-packed films such as “Shaolin Temple” (1982). The path continues with contemporary works, such as Jia Zhangke’s time-spanning anthology “Mountains May Depart” (2015), offering a glimpse into current cinematic visions.

In summary, Sha mentions that this unique program is designed to recognize and celebrate the groundbreaking artists who shaped Chinese cinema throughout its 120-year history, while simultaneously providing a valuable chance for viewers to grasp the evolution of Chinese filmmaking.

‘Dingjun Mountain,’ courtesy of China Film Archive

The 120th anniversary celebration is additionally featuring discourses on Chinese film history led by directors Jia Zhangke and Huo Jianqi. Moreover, it presents an opportunity for cinephiles to ponder over the individuals and situations that introduced cinema to China.

Or simply:

The 120th anniversary is not only a time for discussions on Chinese film history by directors Jia Zhangke and Huo Jianqi, but also for film enthusiasts to consider the people and circumstances that brought cinema to China.

And that leads us back to the story of Ren Qingtai. 

The movie initially appeared in China back in 1896 through screenings in Shanghai featuring brief clips from the Lumière brothers of France. According to Li, Ren was born into poverty around the 1850s in Faku, Liaoning. Initially, he pursued carpentry as a means to prosper, but his talent caught attention. As photography began to emerge in China, he seized this new prospect for potential growth.

By the year 1892, Ren had established the Fengtai Photo Studio in Beijing. Not long after, he began serving some highly esteemed clients, including the Empress Dowager Cixi (1835-1908), a figure famously depicted on her deathbed in Bernardo Bertolucci’s Academy Award-winning film “The Last Emperor” (1987). For this work, he was honored with a “fourth-rank official’s hat and peacock feather”, an accolade that brought Ren “great renown”, as Li explains.

At that time, motion pictures were causing quite a stir, and Ren grasped this moment, purchasing a camera from Kierulf’s Store in Beijing, and recruiting Tan Xinpei, a veteran actor from the Peking Opera, and Liu Zhonglun, an up-and-coming cinematographer, to work on his studio’s courtyard. Together, they aimed to produce China’s first film.

Li described that the filming process spanned three days, with scenes from the Peking Opera titled “Dingjun Mountain” being captured – specifically, “Requesting Orders” (Qing Ying), “Sword Dance” (Wu Dao), and “Battle Engagement” (Jiao Feng). After its completion, Ren Qingtai showcased this film at his Daguanlou Theater as well as other venues. It is noted that he established the first professional cinema in Beijing, the Daguanlou Cinema, which revolutionized the movie-watching experience and played a significant role in transitioning cinema from an exclusive court amusement to a widespread form of entertainment for the masses.

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2025-04-19 05:24