<P> Many Sixth Generation films have highlighted the negative attributes of China's entry into the modern capitalist market . Li Yang's Blind Shaft (2003) for example, is an account of two murderous con - men in the unregulated and notoriously dangerous mining industry of northern China . (Li refused the tag of Sixth Generation, although admitted he was not Fifth Generation). While Jia Zhangke's The World (2004) emphasizes the emptiness of globalization in the backdrop of an internationally themed amusement park . </P> <P> Some of the more prolific Sixth Generation directors to have emerged are Wang Xiaoshuai (The Days, Beijing Bicycle), Zhang Yuan (Beijing Bastards, East Palace West Palace), Jia Zhangke (Xiao Wu, Unknown Pleasures, Platform, The World), He Jianjun (Postman) and Lou Ye (Suzhou River, Summer Palace). One young director who does not share most of the concerns of the Sixth Generation is Lu Chuan (Kekexili: Mountain Patrol, 2004; City of Life and Death, 2010). </P> <P> There is a growing number of independent post-Sixth Generation filmmakers making films with extremely low budgets and using digital equipment . They are the so - called dGeneration (for digital). These films, like those from Sixth Generation filmmakers, are mostly made outside the Chinese film system and are shown mostly on the international film festival circuit . Ying Liang and Jian Yi are two of these dGeneration filmmakers . Ying's Taking Father Home (2005) and The Other Half (2006) are both representative of the dGeneration trends of feature film . Liu Jiayin made two dGeneration feature films, Oxhide (2004) and Oxhide II (2010), blurring the line between documentary and narrative film . Oxhide, made by Liu when she was a film student, frames herself and her parents in their claustrophobic Beijing apartment in a narrative praised by critics . </P> <P> Two decades of reform and commercialization have brought dramatic social changes in mainland China, reflected not only in fiction film but in a growing documentary movement . Wu Wenguang's 70 - minute Bumming in Beijing: The Last Dreamers (1990) is now seen as one of the first works of this "New Documentary Movement" (NDM) in China . Bumming, made between 1988 and 1990, contains interviews with five young artists eking out a living in Beijing, subject to state authorized tasks . Shot using a camcorder, the documentary ends with four of the artists moving abroad after the 1989 Tiananmen Protests . Dance with the Farm Workers (2001) is another documentary by Wu . </P>

Who came 5th and 6th in grand national