Abstract
This article examines Hero and House of Flying Daggers, Zhang Yimou's first forays into the martial arts/action genre, against the shifting cultural landscape in contemporary China. It first offers a sketch of the development of the Fifth Generation filmmakers and Zhang Yimou's career trajectory in relation to the latest development in the cultural politics of contemporary Chinese cinema as a guide to the contextual structures which frame the examination of the two films. The article then goes on to a detailed reading of Hero and House of Flying Daggers. The author believes that drawing upon issues both internal and external to the “text” of the films yields new insights into the relationship between Chinese artists and the Party in terms of rebellion, co-option, and resubmission. The reading of the films leads to the conclusion that the films embody acts of change as well as continuity with the Fifth Generation and Zhang's career development, thus extending existing views on the relationship between filmmakers and the Party.
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.
