<bos><start_of_turn>system
You are a helpful AI assistant.
lista de codigos linguisticos disponibles: ["de", "en"].<end_of_turn>
<start_of_turn>user
Beschreiben Sie einen Teil der Geschichte des chinesischen Kinos.<end_of_turn>
<start_of_turn>model
Popular Chinese cinema remains a propaganda vehicle. In the 1990s, authors such as Zhang Yimou ([born 1950] Wives and Concubines, 1991; Qiu Ju a Chinese Woman, 1992) and Chen Kaige ([born 1952] The Great Parade, 1985; Farewell My Concubine, 1993 ) have nevertheless been appreciated abroad.
Critics have also praised Taiwanese directors Hou Hsiao-hsien ([b. 1947] City of Sorrows, 1988; Flowers of Shanghai, 1998) and Edward Yang ([1947-2007] A Beautiful Summer Day, 1991; Yi Yi, 2000).
Hong Kong floods the market with kung fu (karate) films. They revealed the actor Bruce Lee (1940-1973) as well as the filmmakers King Hu ([1931-1997] Touch of Zen, 1969) and John Woo (born in 1946), who also made good noir films (Une bullet in the head, 1990) and had an international career. For his part, the screenwriter and director Wong Kar Wai (born in 1958) exploits the vein of dramatic comedy (Chungking Express, 1994; In the Mood for Love, 2000).<end_of_turn><eos>