Abstract
As an emerging film director, Yu Li has yet to be recognized by the international academic critics. By examining Hongyan/Dam Street in the Chinese cultural context with the assistance of analyzing scenes in detail and the film’s visual style, this article argues that the film illustrates the protagonist Xiaoyun is stuck between traditions and modernity, providing a sophisticated insight to an important feminist issue. The reading of the traditions involves chastity code, the image of a rouge face which is the translation of the film’s Chinese title, the Chinese four-character idioms, the time-honoured terms, the development of feminism, and the characteristics of the modernity in China. The perversity of the modernity originates from the social commercialization. Prejudices from the traditions and the modernity leave little space for women to settle in.
Highlights
Yu Li is an outstanding feminist director in mainland China as “we are challenged to rethink feminism under local/global conditions (Cui, 2011, p. 230).” Her film works include Jinnianxiatian/ Fish and Elephant (2001), Hongyan
By examining Hongyan/Dam Street in the Chinese cultural context with the assistance of analyzing scenes in detail and the film’s visual style, this article argues that the film illustrates the protagonist Xiaoyun is stuck between traditions and modernity, providing a sophisticated insight to an important feminist issue
Rouge Face)/ Dam Street (2005), Pingguo/ Lost in Beijing (2007), Guanyinshan/ Buddha Mountain (2010) and ercibaoguang/ the2nd Exposure (2012)
Summary
Yu Li is an outstanding feminist director in mainland China as “we are challenged to rethink feminism under local/global conditions (Cui, 2011, p. 230).” Her film works include Jinnianxiatian/ Fish and Elephant (2001), Hongyan Rouge Face)/ Dam Street (2005), Pingguo/ Lost in Beijing (2007), Guanyinshan/ Buddha Mountain (2010) and ercibaoguang/ the2nd Exposure (2012) All her films focus on women’s struggles from a feminist perspective. The story in Dam Street, takes place in a rural social setting, a major carrier of Chinese traditional values. Contrary to her expectations, it is still not easy for her film to be understood and interpreted fully within the Chinese cultural context. Out of the western perspective of hunting for novelty and excitement, Dargis interprets the relationship as something different from what the Chinese audience can see Both of them fail to understand the movie within the Chinese cultural context. In this article I integrate the knowledge of the Chinese culture, including the traditional beliefs, four-character idioms, time-honoured terms and the development of feminism in China with detailed analysis of relevant scenes of the film to demonstrate my point of view
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
