Comparison Between Zhang Yimou 's And Yu Hua

The films Stage Sisters and Yellow Earth were made twenty years apart in different political climates in China. The films have similarities drawn from policies and ways of thinking that were set in place during the Cultural Revolution and have differences that show the progression filming style and acting post Cultural Revolution thinking.

Shen Fu was a Chinese writer and art dealer who lived during the Qing Dynasty. He had a very strong love for his wife Chen Yun and she is the inspiration for his book “Six Records of a Floating Life”, which vividly describes their life and love together. Shen Fu discusses the happiness that he found in marriage to his cousin Yun, in his first chapter, “Joys of the Wedding Chamber”. He then goes into detail, and is even reminiscent, about enjoying the little things and his experiences with them in the second part of his book, “Pleasure of Leisure”. Next Shen Fu talks about the adversities that he and Yun have to experience, in their sometimes-trying

Once the novel comes to an end, we notice clearly the way Wang Lung changed. In the beginning of the novel we learned many ancient Chinese traditions by observing Wang Lung as a simple peasant, but as he becomes a wealthy landowner his life collapses. This rapid change of social class makes it difficult for anyone who intends to keep their traditional values until their death. This fantastic novel by Pearl S. Buck reminds us that we can never forget our traditional values, because if that happens your life will collapse just the way Wang Lung unfortunately

In late 2002 the Oscar nominated Chinese Wuxia film ‘Hero’ directed by Yimou Zhang hit cinemas all over China before spreading internationally over the next few years. Yimou Zhang presented this tale that presents the legendary reign of the Qin Emperor and a nameless hero played by Jet Li tasked to assassinate the emperor. Zhang is known for creating films that present the rich Chinese history. This film is no exception. The film presents the culture of China during the Qin Dynasty through many different components. The costume, setting and music present the time period perfectly. Yimou also uses colour as symbolism in the film to present major plot points. As well as symbolising a part of a scene, for instance pink for love during the sex scene and red later on as death. As shown throughout the film, two of the characters Broken Sword and Flying Snow are both dressed in red hanfu robes which are a rich component in the progression of

To do so, Fugui attempts to maintain his ‘face’ in the commune by donating the most steel and telling his son to work rather than sleep. Consequently, like the very puppets that he holds, Fugui becomes another puppet in the communist authoritarian rule. His effort to uphold social standing ultimately contributes to the death of his son.

Mark C Elliott’s book Emperor Qianlong Son of Heaven, Man of the World is a short biography about Hongli. Hongli was the fourth son of the Yongzheng Emperor and the favorite of his father and grandfather and was born in 1711. In the beginning it describes how he rose up in rank as a son through his father who introduced him to the current emperor Kangxi, his grandfather. The first chapter gives us the story of what Hongli was like as a child and how he won the favor of the Emperor. The book follows Hongli all the time from his birth from a low ranking palace consort right up to the end of his life even after he technically gave up his title as

The reason why the author might have chosen the case-study approach to writing this book is because of the numerous similarities between the living conditions and circumstances that Ye and Ma faced. Both Ye and Ma were born in Beijing in around same period, they had both lived through the revolution in 1958 in the city, they became Red Guards in their early youth, and they both were sent to the countryside, and allowed to return back order to study. Also, they both traveled to the United States for their higher studies. Ye and Ma are discussing each aspect their life trajectory paralleled to

The Sun of the Revolution by Liang Heng, is intriguing and vivid, and gives us a complex and compelling perspective on Chines culture during a confusing time period. We get the opportunity to learn the story of a young man with a promising future, but an unpleasant childhood. Liang Heng was exposed to every aspect of the Cultural Revolution in China, and shares his experiences with us, since the book is written from Liang perspective, we do not have a biased opinion from an elite member in the Chinese society nor the poor we get an honest opinion from the People’s Republic of China. Liang only had the fortunate opportunity of expressing these events due his relationship with his wife, An American woman whom helps him write the book. When

“It was not easy to live in Shanghai” (Anyi 137). This line, echoed throughout Wang Anyi 's short piece “The Destination” is the glowing heartbeat of the story. A refrain filled with both longing and sadness, it hints at the many struggles faced by thousands upon thousands trying to get by in the city of Shanghai. One of these lost souls, the protagonist, Chen Xin, was one of the many youths taken from his family and sent to live the in the countryside during the Cultural Revolution. Ten years after the fact, Chen Xin views the repercussions of the Cultural Revolution internally and externally as he processes the changes that both he, and his hometown have over-gone in the past ten years. Devastatingly, he comes to the conclusion that there is no going back to the time of his childhood, and his fond memories of Shanghai exist solely in memory. This is in large part is due to the changes brought on by the Cultural Revolution. These effects of the Cultural Revolution are a central theme to the story; with repercussions seen on a cultural level, as well as a personal one.

Described as utopian in nature, the Chinese culture is often in pursuit for the perfect individual, a harmonious and structured society where the citizens as a whole create the ideal culture. In a collection of short stories entitled The Bridegroom, author Ha Jin documents this aspect of reality in homeland China. Primarily for the purposes of instruction and satirical verse, Ha Jin, shows how people are trying to find themselves in a society that focuses on the ‘whole’ of the country rather than the individual. He is able to interconnect this theme of individualism through four major stories in the book while presenting ‘Chineseness’ or satire of fictional verse as a way to focus on the changes throughout China

A third narrative thread is created by stringing together the stories of young Chinese students, both men and women. Their optimistic visions of the future contrast poignantly with the stories of Chen Mengjia and Polat, who expose more of the dark side of China especially the Cultural Revolution. Chen Mengjia committed suicide during the Cultural Revolution. Hessler (2006) interviews an old man about the issue of personal responsibility and political activism and reveals the deeply conflicted nature

All through time, successive generations have rebelled against the values and traditions of their elders. In all countries, including China, new generations have sought to find a different path than that of their past leaders. Traditional values become outdated and are replaced with what the younger society deems as significant. Family concentrates on this very subject. In the novel, three brothers struggle against the outdated Confucian values of their elders. Alike in their dislike of the traditional Confucian system of their grandfather, yet very different in their interactions with him and others, begin to reach beyond the ancient values of Confucianism and strive for a breath of freedom. Their struggles against the old values

In subsequent years following the establishment of the People’s Republic of China came a revolutionary new approach to not only producing films, but also film’s very role in communist society. During this period the state gained complete control of the filmmaking industry, decreeing that the utilitarian functions of art and literature were to become a powerful weapon in serving the revolutionary struggle. In an otherwise artistically stifling period in which socialist realism pervaded all creative outlets, Xie Jin managed to retain some autonomy and emerged as one of the cleverest Chinese directors in the early 1960s. In his 1961 film Red Detachment of Women, Jin provides a classic revolutionary melodrama, yet also displays elements of formalism so that the viewer becomes conscious of the manipulations of his film technique. To analyze this film, I will use Mao Zedong’s 1942 “Talks at the Yan 'an Forum on Literature and Art,” clip #10 “Landmark 2,” and clip #6 “We are joining the red army” to elaborate on the major themes and cinematic style that distinguish Xie Jin’s work from his contemporaries.

Ang Lee’s Crouching tiger Hidden Dragon is probably one of the most successful foreign films to ever be screened in America. Being the number one film of the year in 2000. On the other hand it was reportedly considered a flop in China. While it was influenced by American film styles, it still kept true to many aspects of its Chinese film heritage. With very apparent love story, it lacked the Extreme amount of Kung Fu fight scenes eastern audiences have come to enjoy. This is a stunning love story between a monk and widow. While it does have its share of over the top fight scenes, when you start to dig deeper the films many social implications become apparent. With ties to subjects such as religion, martial arts, philosophy, love, and even gender issues. This film is a representation of the modern era and how long practiced traditions are being challenged. Each character and plot line allows a glimpse into the Social and Traditional understanding of a culture.

Family loyalty in China has had a tumultuous past filled with fluctuation between remaining loyal to the state, yet also remaining loyal to blood relatives. In the autobiography that also serves as a biography, Wild Swans, by Jung Chang, this is seen. The book, which outlines the biographies of the author’s grandmother and mother, as well as her own autobiography, gives an interesting look into the lives of the Chinese throughout the 20th century. This book is beyond eye opening, and is truly a raw glimpse into the daily lives of women throughout China, struggling with situations that no human should ever be thrown into. I loved this book and was truly scared about the world that it opened me up to. The book does many things well, but also has its faults. The author consistently and clearly exemplifies the social hierarchy that consumes China, as well as its obsession with cultural stagnancy. The author also gives intense imagery that thrusts the reader into the scene, and creates a new reality showcasing the truths of China. Although both of those things take main stage in the book, there are a few weaknesses in the book. One, asking the question of how she had such clear anecdotes on her grandmother and mother’s life, how did she have such intimate details? The second shortcoming that Jung Chang had a subjective view of China, partly being that she loves China despite the cards it has dealt her. Her life was not short of hardships, but her family was typically