Gender Identity : The Raise The Red Lantern And The Wedding Banquet

982 Words Apr 4th, 2016 4 Pages
Prof. Jack Gender identity in the Raise the Red Lantern and The Wedding Banquet Raise the Red Lantern (1991) by Yimou Zhang and The Wedding Banquet (1993) by Ang Lee specifically demonstrate perceptions of gender identity through a Chinese narrative. Zhang’s film examines the persecution of women and its harming effects. While Lee aims to create an accepting story of homosexual characters Yet, he progresses in his portray of women. This paper will examine the issues of gender identity (specifically female identity ) and discuss the aspects of modernity in the films. Zhang’s Raise the Red Lantern is a melodrama that portrays a young women’s struggle to adapt to her new life. After the death of her father, Songlian (Li Gong ) becomes the fourth wife of a wealthily Lord. The topography of the film resembles ancient China, as the four wives are confined to the stone wall’s of the fortress. Zhang never shows the women leaving the structure. This demonstrates the notion that the women are trapped within historical China, unable to progress like the outside world. Gender roles are defended instantly in the film, when Songlian suggests that she is a concubine and not a wife. Zhang purposefully does not allow the audience to see the Lord’s face. He represents the omniscient presence of a patriarchal society. The women are not forced by the Lord to wound each other or compete with each other, his presence is psychological. The women must please the Lord, to…

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