Ah Peng soon joins the rescue team and saves a group of female foundry workers on a hillside from a bear attack.

A new genre called "documentary art film" that projects a new utopian society emerged as the style of the Great Leap Forward.

The pursuit of quantity at the expense of quality led to a series of problems such as limited subject matter and uniform theme that lacked creativity and technique.

He put forward a harmony between ten seemingly opposite concepts (motivation and pleasure, goal and capability, ideology and aesthetics, romanticism and realism, learning Marxist theory and putting into practice, basic training and literary accomplishment, politics and welfare, labor and health, innovation and scientific evidence, originality and compatibility).

He emphasized the role of the gift presentation films to "introduce and propagate to the world the Chinese revolution and socialist construction".

[4] Zhou Enlai also reintroduced the importance of artistic creation in film production, stimulating the filmmaker's passion to explore new themes and styles.

[5] After viewing several gift presentation films, Zhou Enlai was disappointed that they lacked "a sense of beauty, joviality and vivacity".

To break from the serious topics dealing with revolutionary and war, Xia Yan instructed the Propaganda Department of the Yunnan Provincial Committee to produce a comedy film that features singing and dancing and the picturesque landscape in Yunnan, a film that was based on the romantic love story of the Bai minority people in Dali's Cang Mountain and Erhai lake.

[1] Xia Yan emphasized that the director should avoid the explicit representation of political slogans, class struggle, and the leadership of the Chinese Communist Party in order to exhibit this film in "capitalist nations that were harsh in censoring socialist messages".

[6] The beautiful scenery in Dali and the robust personalities of the minority people were sufficient to convey the success of China's socialist construction.

[1] The screenplay, written by Zhao Jikang and Wang Gongpu, was originally titled Duoduo Jinhua and featured twelve golden flowers.

Chen Huangmei advised the scenarist to enhance the comedic elements of the play and to portray the moral quality of the protagonist through a series of misunderstandings.

[7] The exotic settings allowed filmmakers to explore the less represented subjects, such as love, oppression, and class exploitation, which extends beyond ethnic boundaries.

Serfs (Nongnu, 1963), a minority film set in the northwest region, presents the suffering of the oppressed Tibetan peasants.

In contrast to the violent reality in Serfs, minority films set in the southwest region "routinely featured picturesque landscape, melodious music and songs, beautiful costumes, exotic customs and romantic love".

Minority films in China provided journeys to the infinite landscape in the northwest or the "tropical climes" in the southwest, a world that was seen as foreign to the Han audiences.

[7] All the ethnic characters in minorities films speak Mandarin instead of dialect in order to achieve a national unity and bridge the linguistic gap.

[6] The romantic theme song By the Butterfly Spring at the beginning and the end of the film is a laudation of the meeting and reunion of Ah Peng and Jin Hua.

Lei Zhenbang combined folk songs from Jianchuan County and "dragon tune" (shualong diao) to compose Jin Hua's singing parts.

People from all over the country come to Dali to take part in the events of trading and horse racing, and prize-winning games, and to watch traditional Bai singing and dancing.

[16] Five Golden Flowers differs from many other minority films in that it lacks the depiction of the suffering caused by class conflicts, and the representation of the Communist Party as a savior of the exploited peasants.

The film not only "combines a series of melodious folk songs with picturesque scenes," but also presents minority peoples as participants in the class struggle.

However, Five Golden Flowers focuses on an enjoyable subject matter, simply showing the Bai minority people participating in the construction during the Great Leap Forward and engaging in romantic affairs.

During the Cultural Revolution, the film was banned due to its "romantic exuberance," and was labeled as an "anti-socialist poisonous weed" (ducao pian) that glorified feudalism and romanticism.

The Ministry of Culture canceled the release of the film in 1965 for it told the story of the dead, did not praise the achievement of the socialist revolution, and glorified "the supremacy of love" (xuanchuan aiqing zhishang).

"[17] The park was designed to mirror the famous Butterfly Spring scenes in Five Golden Flowers, which were shot at a studio in Changchun rather than on location.

After the ancient tree died, a fiberglass branch "covered with real bark" was constructed to match the setting of the film.

On February 5, 2001, scenarists Zhao Jikang and Wang Gongpu filed a lawsuit against the Qujing Tobacco factory, alleging the "Five Golden Flowers" trademark violated their copyright.

The Supreme People's Court in Yunnan Province issued the decision that Zhao Jikang and Wang Gongpu's copyright of Five Golden Flowers, the screenplay they wrote and published in 1959, was protected by the law.

Zhao Jikang and Wang Gongpu's allegation that the Qujing tobacco factory's use of "Five Golden Flowers" as their trademark violated their copyright was disapproved.