ems that celebrities often face in modern-day Hollywood. It seems that any culture tends to have a fascination with the lives of the celebrities of their time.
             The third generation of Chinese film shows an evolution with regards to the way the camera is used and how the films are edited. These changes mirror the camera tyle of Hollywood of the time. According to Donald some of these techniques are, "two- to three-head dialogue sequences to introduce and develop story lines, jump cuts, and cuts on action to keep several narrative strands in place without losing momentum or suspense, and dream sequences or flashbacks" (5). Two figures who best represent the third generation of Chinese film are Sang Hu and Shui Hua. Some of Sang's films include Joys and Sorrows of Middle Age and A Make-Believe Couple. The latter movie focuses on a woman's hairdresser looking for a wealthy wife and a young single mother looking for a wealthy husband. The film is a comedy, which has many tones of Hollywood running through it. Shui Hai's best-known work is The White-haired Girl, made by 1950 and Land, made in 1954. Shui's film's often had very political themes. For example the movie, Land, deals with the story of land reform in the 1930's. Both Sang and Shui manage to deliver strong films, while staying with the political constraints of their period.
             The fourth generation of Chinese filmmakers is made up of men who were trained before the Cultural Revolution. Although they were trained long ago, many of these filmmakers have not made their first feature films until the last 20 years. Xie Jin is one of the more prominent na
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