There are many themes that permeate Chen Kaige’s film, Farewell My Concubine. Fore the purposes of this paper they will be presented in three parts: historical perspective, sexual identity and relationships, and social commentary/criticism. Although some critics of the film make the argument that the film is not about a historical perspective, but rather on sexual identity and human relationships, it is not possible to altogether excuse the historical elements of the film, because there are few and the ones shown are extremely critical to the other themes the movie presents. So then one must question not whether these historical scenes are important in analyzing the film, but why was each historical event selected to be used, and how does it add to the other themes of sexual identity, relationship interaction, and social commentary and criticism? While the film’s main plot follows the relationship between two Beijing Opera stars, Duan Xiaolou and Cheng Dieyi, from their childhood to old age, there are also many subplots, such as the fragmentation of their relationship as a result of Duan’s marriage to Juxian and the historical events that challenged their loyalty to e
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The film gives no reason for their deaths, creating a criticism of Japanese executions as random acts of murder, historically epitomized in the event known as the “Rape of Nanjing”. These students, under the directives of the Chinese Communist Party (CCP), attacked what were considered the “four old elements within Chinese society – old customs, old habits, old culture, and old thinking. As mentioned before the plot of the opera was very feudalist and during the Cultural Revolution the opera was removed from stage performance. Ultimately, however, Cheng is unable to reinforce his position as teacher in the traditional ways and is unable to adapt to the new Beijing Operatic approaches or to his new role as a teacher and is therefor replaced. This film also investigates sexual identity and self- image. Prompted by a seemingly increasing amount of political lethargy and party corruption the Central Committee issued a sixteen point directive, which outlined the aim of the Cultural Revolution and called on the masses to rise up against those that were capitalistic and anti-revolutionary:
Our present aim is to topple those in power who are taking the capitalist road, to criticize reactionary scholarly ‘authorities’, criticize the ideology of the bourgeoisie and al exploiting classes. Ironically it is the torturous childhood in the actor school that has shaped his identity, but when the Cultural Revolution offers to rid the country of such institutions he is the one who stands to protect them by forcing his protegee to endure the same punishments that he did. ” In the end both of the “women” in the film die at their own hands.
With these words she distracts the king and takes his sword to kill herself. The king of Chu asks her then if she would go over to the king of Han so that she would remain safe. We must reform art and literature, reform all parts of the superstructure that do not accord with the socialist base of our country. This amputation is the first symbol of castration seen in the film, and it sets the stage for the further feminization of Cheng. His early encounter with an old actor as a form of sexual initiation, which he later consensually indulges in with Yuan Siye, also serves as an evaluation of relationships between older and younger members of society based on Confucian codes of behavior. The issue of feminization and relationships is key to the films thematic approaches.
Approximate Word count =
2360
Approximate Pages =
9 (250 words per page double spaced)
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