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This is not to say that national cinemas had ceased to exist—the situation of France would contradict such an assertion—but that the trends toward international coproduction and toward filmmakers and performers working in different countries and languages had reached a stage where coherent film movements identified with a particular national culture, such as Italian Neorealism, the French New Wave, or New German Cinema, had become difficult to identify or sustain.A film such as (2002), cowritten by the Polish filmmaker Krzysztof Kieslowski, with Tom Tykwer from Germany as director, set in Italy and spoken in Italian and English by American and Australian lead actors, seemed the rule rather than the exception.The Cultural Revolution became a subject in Chen’s ), the last of which caused the filmmaker to be banned temporarily from film work.Both Chen and Zhang turned to what may have appeared a less-contentious historical subject, Shanghai in the early 20th century, although possibly with allegorical purpose, in the former’s ).Some veteran filmmakers resumed their careers, and one, Xie Jin, made a controversial work, ), showing the deleterious effects of communist political dogma on a rural village.The Beijing Film Academy, closed for more than a decade, reopened in 1978 and graduated its first new class in 1982.The government of Taiwan controlled filmmaking there during the middle decades of the 20th century, but by the early 1980s audiences were shunning local films in favour of action pictures from Hong Kong.A younger group of directors in Taiwan, similar to the Fifth Generation in their desire to break with old traditions, emerged under the banner of New Taiwanese Cinema.

During the 1960s Hong Kong filmmakers became famous throughout Asia for martial-arts action films.Metacinema, also meta-cinema, analogous to metafiction in literature, is a mode of filmmaking in which the film informs the audience that they are watching a work of fiction.Metacinema often references its own production, working against narrative conventions that aim to maintain the audience's suspension of disbelief.Even as many countries produced substantial numbers of films, the idea of nationality was exemplified more by singular individuals than by wider groupings.Among the outstanding figures of European cinema were ).

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