In The Film 'Farewell My ConcubineAndThe King And The Clown'

Macbeth is a dramatic play which tells the story of the downfall of a ‘Nobleman’ who becomes a ‘tyrant’. In Act one Shakespeare introduces the characters Macbeth and Lady Macbeth using a range of dramatic devices.

The film King of Masks deals with and challenges the feudal idea that men are superior to women; this ideology, as the film portrays, results in alienation, tragedy and bitterness for girls in Chinese society and particularly the protagonist Doggie. In contrast, out of darkness, corruption, and poverty, the goodness of humanity and the human love sprung up from the master-apprentice relationship between Wang and Doggie will ultimately reign over narrow and backward traditional notions.

In Act 1 Scene 3, Shakespeare introduces Macbeth. It is noteworthy that Macbeth's first line in this play is "so foul and fair a day I have not seen." His first line is a paradox, which I believe foreshadows his growth as a character, "foul and fair" (19). Also, it is interesting that the witches say the same ominous phrase in act 1 scene 1, as it creates a link between Macbeth and them. There is a shift in Macbeth's character from being a selfless war hero to a greedy man who imagines killing the king in order to secure his position. In addition, the theme of fate is introduced with the witches foretelling Macbeth and Banquo about their future.

I chose to analyze the movie “The Princess and the Frog” since I knew how sexist Disney princess movies in the past, such as Cinderella and Snow White and the Seven Dwarves, have been, but also the interesting twists that try to hide sexism in the more modern tales. “The Princess and The Frog” really is a classic Disney love story. Tiana is a woman in New Orleans who dreams of one day running her own popular restaurant along the Mississippi River. Prince Naveen travels to New Orleans with the sole purpose of marrying a rich woman to reclaim his part of his family's fortune. His greed is his downfall when he seeks the services of Dr. Facilier, a voodoo man who turns him into a frog and turns his servant, Lawrence, into the prince. In a chance meeting at a masquerade ball, Tiana and frog Naveen meet. Naveen promises to pay for Tiana's restaurant if she would kiss him to turn him back into a human. Tiana relents, kisses him, and then is also turned into a frog. It is a race against time for them to find a way to turn themselves back into humans.

William Shakespeare’s Romeo and Juliet has been adapted into several films, but the film that properly demonstrates the mood of Act 2, scene 2 is Baz Luhrmann’s 1996 version.

China during the Cultural Revolution was a place where you were told what to do, and what to say. Today I will be speaking to you about Mao’s Last Dancer, the film adaption of the autobiography of Li Cunxin. To begin with, I will speak about the Cultural Revolution in China, where the story is set.

Chinese women have historically retained highly circumscribed roles and statuses that rendered them inferior to their male corollaries. The gender status quo was predicated on a definition of gender as a cultural construct that is performed rather than rooted in biology. Throughout Chinese history, the women’s role in the family was paramount as conceptualized by the concept of Yin and Yang. While men are associated with Yang, the darker and robust force, while Yin represented the cooler and passive female force. As such, the Chinese ascribed to the separate spheres ideology which relegated women to the private sphere within the home while the public sphere was a male preserve.

Within Ang Lee’s The Wedding Banquet (1993) Wei-Tung is pressured by his parents to get married and have a child, but it becomes a problem because he is gay. The narrative structure of the film was showing the conflicts and struggle to satisfy old traditional parents and newer forms of beliefs. Within the scene sequence of the parents arriving, but before that Simon, Wei-Wei, and Wei-Tung had to redesign the house and make preparations in put on a façade for the parents. Wei-Tung’s struggle to hide the cruel fact for his parents by “coming out to family of [heterosexuality] is important for lesbian and gay men’s mental health and couple relationships.” (Green) Throughout the film the narrative plot and structure revolves and we can slowly see the mental breakdown Wei-Tung has with the relationship with his partner Simon, Wei-Wei and his parents. Historically this can be understood as problematic as coming out and that it was hard to face others especially one’s own parents. This is shown that within the early 1990s it was hard to face the public because of the treatment and dislike within the community. During the opening sequences of the film we can see Simon taking out the trash and his friend shows up pretending to disrespect and insult Simon by calling him a homo and asking what he is doing

In this move, the Chinese community expects women to get married for procreation purposes. For instance, Wai Tung is being by his mother to get so that he can give her a granddaughter against his will. At the long last he gets married to satisfy his nagging parents to a female tenant. The movie creates a notion that a woman needs a man to achieve something in life because Wei Wei gets married to a gay landlord because she needs a green card. In this case, the marriage between Tung and Wei becomes a marriage of convenience. This scene portrays an aspect of China traditions that women are tools of sex in that part where Mr. Gao insists on throwing a wedding banquet for the couple. After the party and all the drinking, Wai Tung and Wei Wei are put to bed, and things get out of hand. Also, the movie reveals another purpose of female in traditional Chinese culture, which is human production. Tung’s father doesn’t care if his son is homosexual or not as long as he gets a grandchild. Tung’s parents only want Wei to give their family the next generation.

Maxine Kingston, a famous writer whose work is often rooted in her experience as a first-generation Chinese American, wrote pieces that often shed light on how first generation Americans have figured out “how the invisible world the emigrants built around [their] childhoods fit in solid America” (para. 10). In her memoir The Woman Warrior, the first chapter “No Name Woman” involves a cautionary tale meant to discourage young Kingston from engaging in adultery and humiliating the family; the mother hopes the fear of being forgotten will serve as a deterrent for sexual lewdness. The chapter dramatizes the cultural differences between China and the United States, particularly the narrator’s internal conflict of identifying “what is Chinese tradition and what is the movies” (par.12). Through the mother’s initial tale and the narrator’s manifestation of her aunt’s life, Kingston creates some sort of dialogue between China and the United States. Moreover, Kingston employs the story of the dead aunt to navigate between the contrasting regions by highlighting the differences in traditions, customs, and the idea of femininity.

The 1993 movie directed by Kaige Chen, Farewell My Concubine, addresses the Chinese political issues during the war against Japan via interpersonal issues of an opera troupe of young male actors. The movie is as long as it is engaging. With two orphan boys who are raised to act in an Opera for their entire lives, dedication obtains a whole new meaning. Dieyi's training to act as a woman and to reflect femininity in his whole life increases the dissension that is observed within the film as well as its connections to the politics of China. The use of ghastly sound effects, close-up cinematographic techniques, and military involvement combine together in this movie to create a devastatingly dramatic experience.

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.

In Japanese society, at the time when these works were created, the feminine sexuality of a wife and of a courtesan were seen as two dichotomous roles that could not possibly be carried out by a single woman, at least in an ideal world. While it is true many

The last emperor is a very famous film about Pu Yi's life story. The film is directed by Italian director Bernardo Bertolucci (1). The film uses time and space staggered dramatic structure, with flashback, narrative, narrative way of telling stories. Respectively, is part of the memory and reality, the two space-time continuous switching, the formation of the rhythm-sharp story. Bernardo Bertolucci, with his unique shooting style, conquered all the audience. In 1988, sixtieth Oscar won the award for best film, best director, best-adapted screenplay, best photography, best art, best costume design, best editing, best sound, the best original music, nine awards. In this article, we will discuss how the Chinese and Western cultures in the film

It was released in the year 1993, covering the period of the Chinese social upheavals between the 1920s through to the 1970s in the setting of the Beijing Opera. The film raises the attitude of homosexuality in the most painful period of the traditional Chinese history, for the Chinese and Western viewers (Lau 1995, 22). Despite that, China holds a strong homosexual stigma within the twentieth century. According to Lau, this film was an opportunity to stimulate the inherent of the Beijing Opera in relation to the homosexual practices that were tolerated during the era (Lau 1995, 22). Zheng further suggested that the film was also a chance to understand the homophobic anxiety of the historical and political brutality in Chinese history (Zhang 1999, 101). The film attempts to illustrate that the Chinese cultural connections and homosexuality cannot coexist. The main protagonist, Cheng Dieyi, sense of identity is heavily reinforced by the power structure within the environment through harsh symbolic rapes. Lau suggested that the symbolic rapes, such as the loss of finger and getting a pipe forced into the mouth are indications of homosexuality (Lau 1995, 23). According to Zheng, the scene when Dieyi gets raped by the eunuch has exhibited Dieyi’s disruption towards the societal rejection of homosexuality (Zhang 1999, 104). Zheng also stated that Dieyi’s violent