Red lantern

Color Emphasis in Raise the Red Lantern Chen Ning (Jenny) Yen 58935107 ASIA 355 Professor Rui Wang 23/11/2012 Scholars and film critiques have often regarded the fifth-generation film Director, Zhang Yi Mou’s films as a visually sensual feast (Zhu 26). The predominant use of the color Red in his highly stylized films: Red Sorghum (1988), Ju Dou and Raise the Red Lantern (1991) are evidence of his trademark visual style thus leading scholars to critically

Tennessee Williams’ play A Streetcar Named Desire and Zhang Yimou’s film Raise the Red Lantern both explore the social constraints that have historically been placed on the female gender. Set in 1940s New Orleans and 1920s Northern China respectively, inherent in both texts is an androcentric and patriarchal society that can be observed to impact the protagonists’, Blanche Dubois and Songlian’s, psychological capacities to a substantial extent. Indeed, it can be suggested that their behaviours, mindsets

Yi-Mou Zhang 's Raise the Red Lantern, is a beautiful and brilliantly made film in its own right. If, however, the team of Orson Welles and Greg Toland had produced the same film it would take on an entirely different look and feel. The film would reflect Wells love for creating physical representations of thematic metaphors and the long take and Toland 's brilliant use of deep space photography and mobile framing. Under the direction of the Wells-Toland team, the film would take on subtle, yet

culture for over 2,000 years. Chinese cinema often times embodies a contradictory relationship to its own traditions, particularly considering the abuse and treatment of women. Many popular Chinese films such as, Yellow Earth, Judou, and Raise the Red Lantern from the late 1980s to the 1990s attempt to expose a suppressed history, however instead they are more inclined to reinforce and preserve the image and ideology of women’s suffering to modern audiences. Male directors

women are not always equal in marital decision. Polygamy which is a person having more than one spouse has brought a lot of abuse towards women who marry due to obligation or culture, as we see in the movie Raise the Red Lantern. We will review through the movie Raise the Red Lantern how some cultures disregards women, insecurity, and responsibility to family duties has both impacted young women all over the world for centuries both positively and negatively.

In the film Raise the Red Lantern, the author and filmmaker criticized this film as allegory and it always covered two different level which are surface story and under-surface story. Allegory is a story within a story. What I acknowledge about the surface story is that the film shows the audiences of what was happening between the characters and there were a hidden meaning and symbolism behind the story which is called the under-the-surface story. Also, these hidden meaning and symbolism were related

secret meeting – excluding his humble self – must surely be the reasons for his visit. Regardless he maintained full focus on the matter at hand. The steps were coming to an end and the smooth stone was beginning. He looked for the first of the lanterns that were to be ignited. Raising the device

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

In ‘A Streetcar Named Desire’, the characters of Blanche and Stanley are presented as opposing characters in the book, and hence a lot of conflict and friction occurs between them. The character of Blanche is an older character, from a rather wealthy background and lives in a fantasy world in which she is still young and hasn’t faced the truth. The character of Stanley, however, is a more realistic and primitive character and can be viewed as Blanche’s opposite. Throughout the play, there is a constant

her strong desire to remain youthful, protect her status as a Southern Belle and the traumatic memory of Allan's death. The motif of light represents both the reality of Blanche's past and present self, thus avoiding light through using the paper lantern and hiding in shadows when interacting with others show how she cannot face reality, eventually losing hold of reality altogether. When Blanche starts to love Allan, it feels like "you suddenly turned a blinding light on something that had always