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“A number of Chinese filmmakers, including Chen Kaige and Li Shaohong, imitated Zhang's visual style in the early 1990s by multiplying various erotic images of the oriental Other for global consumption. Consequently, these films, usually sponsored by multinational corporations and catering to the tastes of global audiences, can be perceived as following the same model -- the Zhang Yimou model. To a great degree, this model also marks the end of formal experiment for the Fifth Generation directors because they must adopt a much more conventional way of filmmaking in order to meed the demand of the global market.”
― Tonglin Lu, Confronting Modernity in the Cinemas of Taiwan and Mainland China

“Though
the actresses who played female boys were of all ages and performed in a vari-
ety of acting styles, they were generally small, thin, white, and photogenic, and
their performances combined boldness and vulnerability. Their femaleness al-
lowed them to convey fragility and androgynous beauty. These performances
demonstrate that cross-gender casting, which may seem like an inherently
transgressive practice to twenty-first-century scholars, can also uphold conser-
vative gender, class, and racial regimes. At the same time, the performances
cannot be dismissed as reactionary or antifeminist, because they embodied
middle-class women’s sentimental politics and created a space in which wom-
en’s bodies had an important role in producing an idealized masculinity.”
― Laura Horak, Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908-1934

“At this point, [Tuco and Pablo] start scrapping like children, while Blondie looks secretly on. 'Please forgive me, brother', says the thoroughly ashamed Padre Ramirez. Tuco walks out, without turning back, then boastfully tells Blondie: 'My brother, he's crazy about me... even a tramp like me. No matter what happens, there'll always be a bowl of soup'. Blondie replies: 'Well, after a meal, there's nothing like a good cigar'. Tuco wipes away his tears and proceeds to eat the cigar, a broad grin returning to his face.”
― Christopher Frayling, Sergio Leone: Something to Do With Death

“Regardless of how successful the Fifth Generation and New Taiwan cinemas have been in the international film milieu, this (limited) recognition usually is based on two aspects: the formal or the exotic. Their works are praised as highly formally innovative (in other words, how well the have mastered the new-wave visual language of the West -- thus, our modernist language) or exotic (as revealing the mystery of an inscrutable Other). This may explain why in the United States, mainland, Hong Kong, and Taiwan cinemas are still perceived as a homogeneous entity called Chinese cinema, though they are products of the vastly different cultures of three geopolitically segregated regions.”
― Tonglin Lu, Confronting Modernity in the Cinemas of Taiwan and Mainland China