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34219037

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Shuo Zhang Writing 1 05/6/2011 A brand new look upon homosexuality-analysis of Farewell My own Concubine Although homosexuality is available in social reality, the possible lack of its own “truthful” representation when it comes to books or films produces numerous uncertainty that stop the development of an optimistic homosexual sensibility in Chinese culture. Therefore , the most outstanding and questionable part of the movie Farewell My personal Concubine (Kaige Chen, 1993) is its effort in order to the language-less silence in search of an appropriate words to express lgbt experience and anxiety.

By showing Dieyi Cheng’s unpleasant life up against the historical backdrop of extreme turbulent flow in China and tiawan (from the year of 1924 to 1977), the movie critiques the homophobic phenomenon in traditional China culture, and summons the establishment and development of a more liberal contemporary society.

Dieyi’s tragic life starts with his designation to play Dan’sroles because of his delicate physical appearance. At first, this kind of idea firmly bothers him. When the well-known theatrical agent, Nakun, went to the section, Dieyi was brought to recite his agallas role, although instead of saying the best line “I am the natural way a girl, not really a boy”, this individual insisted in saying ‘I am naturally a boy.. (17: 57). While using future of the troupe in danger, such an error was not bearable in the highly-standard traditional Peking Opera, Xiaolou twisted a tobacco tube in Dieyi’s mouth right up until Dieyi whimpered the correct lines with his mouthfull of blood. Dieyi attempted to escape from the opera home with one more apprentice Laizi, but came back after seeing a performance by an ie master that impressed and made both of them really miss the life of opera superstars. After their very own return, Xiaolou was brutally beaten to get allowing their particular escape, and seeing this kind of scene, Laizi hanged himself so as to reduce the soreness of punishment.

This tragic experience compelled Dieyi to accept his woman role, and made him submissive to the headmaster. To become a professional Dan, Dieyi must have gone through highly intense training process. Although the movie leaves out this part, we can imagine that having been taught to speak and behave like women also in his everyday life. According to Min Tian’s essay “Male Dan: the Paradox of Sex, Acting, and Belief of Female Impersonation in Traditional China Theatre”, “identification, given the strict stylization and codification in raditional Beijing Ie, is one of the cornerstones of performance and it is anxious even more inside the art of female impersonation precisely due to ‘prescribed need for dissolving the disparity between actor wonderful female role'”. (Tian, 84) Hence, it is very important for Dieyi to continuously imagine him self as a woman so as to reach the standard of performance and become accepted by the censorious market. Dieyi succeeded in playing the position Concubine Yu in his first performance. He was so effeminate and appealing on stage that Eunuch Zhang became crazy for him and secretly raped him later on.

In return for Dieyi’s sacrifice, Eunuch Zhang manufactured the ie house the most popular one in Beijing, and Dieyi, the most encouraging “actress” among his colleagues. However , Dieyi was crushed after this difficult experience, since shown in the movie: this individual remained noiseless for days, tucked away from his fellow apprentices, and even participated himself even more into his fantasy, in his role of Soupirant Yu: During a performance, the Japanese troop broke into the theatre and started to steal the audience. The stir started to be a huge huge range when a woman was taken to death so that the stars and employees stopped carrying out and fought back up against the soldiers.

Just Dieyi remained on stage, ongoing singing and dancing, as if the taken, the deal with, the impending anti-Japanese war had been probably none of his business. This reveals Dieyi’s finish dedication and focus on stage and within his created fantasy as Concubine Yu. Also, it truly is from this episode that Dieyi’s sexual orientation became deviated from the “norm”, that he relied a lot more on Xiaolou, his solid friend, who played the King because Dieyi’s version, because Xiaolou always guarded Dieyi when he encountered unfair treatment.

To assess Dieyi’s psychological development of homosexuality, we may consider Metzger, Sean’s essay “Farewell My Fantasy”, which offers an insightful meaning in terms of Freud’s psychological examination. Sean suggests that Dieyi’s the child years experience is close to “Freud’s trajectory with the female conquering fantasy”(Sean, 233) and several moments in the film are particularly attached to this theory is that Xiaolou was cruelly beaten after helping Dieyi cheat which has a torturous teaching process.

Xiaolou was nearly beaten to death, nevertheless remained smiling to Dieyi till the end in order to relief Dieyi’s panic and remorse, which manufactured Dieyi think, subconsciously, just like a female safeguarded by a guy, Xiaolou. These people were learning, performing and hanging out with each other every single day. Xiaolou joked that in the event one day this individual becomes the King on the planet, he would make Dieyi the queen, just as the story of Farewell, My own Concubine. Dieyi, however , had taken that significantly as he consistently believed that he could hardly live devoid of Xiaolou.

The highly common rules to get Dan’s overall performance and the unpleasant childhood experiences all bring about Dieyi’s advancement homosexuality. He became thus in love with Xiaolou, that after hearing this news of Xiaolou’s marriage with Juxian, an attractive prostitute, this individual screamed to Xiaolou in a trembling tone: ‘I need to stay along with you forever, not an hour, a minute or a second less. ‘(50: 11) Of course , Dieyi’ s want could by no means be fulfilled because Xiaolou is not just a gay, furthermore, Xiaolou strays away from Dieyi probably as a result of his anxiety about Dieyi’s irregular behavior which could imperil his relationship with Juxian.

Getting Dieyi’s only friend, Xiaolou’s alienation still left Dieyi with nothing but soreness. Although he enjoyed huge fame and fortune since the best Serta in Beijing, he treated his isolation and sadness by smoking opium. To Dieyi, opium had the magic effect of trapping him in his fantasies, in which he is the genuine Concubine Yu, and the Full never remaining him. For many part of the film, Dieyi continued to be in feminine costume and concubine makeup, because the transvestite stage of Peking ie offers a spot, an creative capaciousness, in which he could represent and masquerade his genuine sensibility.

Though the more he did so, the greater he drifted apart from fact, and the more he endured. He had a grueling period giving up opium, because it used too much of his energy and mentality that he exceeded out within a performance. Locked in a area, he cannot help but to smash all the stuff, crying intended for assistance and cursing the world. Next comes after one of the most sad scene inside the movie: among a mess of broken goblet and cut clothes, Dieyi leans on Juxian’s lap, pale and frail, murmuring that this individual misses his mother.

Juxian, with her eyes full of tears, responded: “Mom is here, don’t be afraid”(90: 37). Also Juxian, Dieyi’s rival in love, can easily understand his pain and helplessness at this moment. She pretended to be his mother, supplying him temporary love and support in in an attempt to help him overcome the great difficulty. And due to his loneliness, Dieyi also developed a romantic relationship with Consumer Yuan, a bureaucrat, a wealthy �conomiser, and a crazy theatergoer, not as a result of love, although because of the lack of Xiaolou. Yuan encouraged, and indulged himself in the antasy of Farewell My Soupirant with Dieyi: he bought exquisite decor and outfits for Dieyi, saying that they can make his Concubine Yu more attractive, he outfitted like the Full, sang and danced with Dieyi in his lavish courtyard, turning a deaf headsets to the chaotic world exterior. Dieyi was so separated from the community that this individual even performed for Japanese invaders during the anti-Japanese battle, innocently convinced that they would appreciate and even pass on Peking Opera in their country, instead, having been tortured and imprisoned pertaining to his treason by the Chinese government towards the end of the war.

His failed relationship with Yuan also affected him during the Ethnic Revolution, since having any kind of relation with a senior bureaucrat from the Qing Dynasty, the enemy of communism, used to be solid crime during that time, and, as being a gay, which was considered to be a scandal in traditional China culture, additional aggravated his accusation. Hence, Dieyi was punished and humiliated ahead of the public in the most beautiful outfit of Concubine Yu.

Dieyi’s tragic experience must have connected with his gay identity, since Benzi Zhang observes in “Figures of Violence and Tropes of Homophobia, Studying Farewell My personal Concubine among East and West”: “although the ruling powers were constantly shifting in China from the year of 1924 to 1977, the discourse of peremptory heterosexuality and patriarchy is never changed or perhaps challenged. Similar to the victims of rape, gay men satisfy the worst injustice and physical violence during that horrifying period of history”(104).

Refusing to get settled in either the category of heterosexuality or patriarchy, Dieyi is known as a “nomad” with inappropriate identification, he threats and challenges the heterosexual cultural worth, and thus becomes the enemy of the entire feudal world. Therefore , Dieyi’s loneliness could be interpreted as being marginalized by mainstream contemporary society, and his susceptibility to assault can be seen like a general attribute among the lgbt minority. To increase interpret this kind of movie, we need to analyze the Beijing Safari Farewell, My own Concubine, which usually dominated the professional life of Dieyi.

It is a appreciate story circulated in Oriental society for thousands of years. In this tragic tale, Soupirant Yu is very loyal and true that rather than abandoning her california king as he encounters military wipe out, she selects to party for him one previous time and in that case to cut her throat together with his sword. In the perspective of modern people, this story certainly reflects “a cultural discourse invested with male dominated values”(Zhang, 103), because the loss of life of the aged beautiful Concubine Yu reveals her loyalty to her partner, which is highly valued as a virtue, or even a common of conduct for women for thousands of years. The binary model of the King (dominant masculinity)-Concubine Yu (subservient femininity), which provides well the patriarchal, heterosexual orthodoxy, is the dominating ideology in Chinese language culture, which includes an oppressive and suffocating consequences to get homosexual discourse”(Zhang, 103). To echo with this account and to offer a heart-rending frame for the movie, Dieyi killed himself inside the same pattern as Soupirant Yu. At the conclusion of this motion picture, Dieyi and Xiaolou had been reunited for the stage, rehearsing Farewell, My Concubine again.

Xiaolou began with the collection “I am naturally a girl, not a boy”, which gave Dieyi trouble forty years in the past. Accidentally, Dieyi made a similar error of finishing the queue with he could be not a lady. Then suddenly, Dieyi swiftly pulled out the sword and killed him self in front of his “king”. How come did Dieyi commit suicide? Was this because he may no longer tolerate the agony of living? I don’t think so , because 1977 was the dawn of Chinese modernization, a signal of the brand-new and peaceful period. With the hope of a bright future, Dieyi probably would not expect to repeat his tragic experiences.

Was it as they lose faith in mending his romance with Xiaolou? Definitely not, while seen in film production company, Xiaolou and Dieyi discussed and smiled like older friends by their re-union. The most fair answer is the fact he wiped out himself to say his gay identity and demonstrate his unyieldingness to the ugly community he existed through. In accordance to Zhang, “Deviance such as homosexuality has long been regarded in Chinese tradition as a signal of “transgression” that requirements a different buy of cultural normality”. (Zhang, 101) Therefore , to maintain this order, something that subverts the orthodox values should be exterminated.

In this feeling, Dieyi’s loss of life is a great inevitable consequence, is a strong highlight of the movie, which usually strikes the hearts of the audience. General, the movie can be seen as a contemporary version with the old tragic Farewell My personal Concubine: they both happen in stressed times, and both the heroines died in the end. However , rather than eulogizing the heroine’s commitment and purity, the modern version summons a hope, a pressing demand for a open-handed society. If perhaps Dieyi had been born in a liberal contemporary society, where homosexuality is not a shame, where gay mankind has equal privileges to follow love nd live a typical life, this individual wouldn’t be abused inside the opera residence, he more than likely be in opposition by his best friend, he wouldn’t enjoy himself in his fantasy by simply smoking opium, he more than likely be embarrassed during the Ethnical Revolution, and he wouldn’t kill him self in the end. All in all, it is the big pressure from the conservative contemporary society that leads to Dieyi’s death. Therefore , the tragic ending is not really designed to break our hearts, but to make them stronger, in order that we are identified enough to fight for freedom and fairness.

With the fascinating story being taught, what are the overall messages which the movie provides? First, Farewell My Soupirant is a great make an effort to break the language-less peace and quiet on the issue of homosexuality, and due to its controversial topic, it was once banned in Chinese landmass theatre. However , it nonetheless succeeds in arousing peoples’ attention with this issue. Second, it criticizes the unjust treatment as well as the general despise of gays(i think they are sick) or lesbians in traditional Chinese lifestyle. Third, that suggests a suppressed intelligence of “modernity” through the concern of homosexuality.

With all the blood and tears from the agonizing history, film production company calls for a liberal and comprehensive world, in which people’s freedom and desire could be satisfied to the utmost. Finally, it instills hope and courage to us-that we should stop complaining about lives and cherish that which we own today, because our company is lucky enough to live in a tranquil and productive society. Meta-analysis I had difficulty picking out thesis, because Farewell My Concubine is so full of context that this addresses a number of significant binaries about the world: love and betray, community and private, freewill and predestination, homosexual and heterosexual.

I chose the binaries: public and, freewill and predestination intended for my close reading composition, trying very hard to make correlations between them. That didn’t work effectively, however , because of it lacks a spotlight, a contact lens, through which I am able to analyze this film in depth, moreover, I really could not find useful extra sources showing any connection between open public life and fatalism. Therefore , I flipped my focus on a more certain and well-expressed topic of this movie: homosexuality. In my lens essay, I let my own analysis evolve with the advancement of the history.

I firstly identify the complexities to Dieyi’s homosexuality by illustrating a lot of important details in his the child years with the explanations from Metzger Sean and Min Tian’s studies. This shows that the strict schooling process of Lalu, and some the child years violent mishaps such as raping and conquering all lead to his lgbt development. Secondly, I check out the relationship among his torment life great homosexual identity. After observing this video several times, I came across out that many of his misfortune originates from his “abnormal” sexual preference.

For example , though he is well recognized as a recognized artist onstage, nobody really cares about his feeling in real life, instead, even Xiaolou alienates him. He is discarded from the popular society, and therefore, he looks for consolidation by smoking opium and totally dedicating in his role Soupirant Yu onstage. Over time, he’s isolated by community, and suffers from his innocence during social motion. Then, with the aid of Benzi Zhang’s study on homophobia in traditional Oriental culture, I actually investigate what causes this romantic relationship.

As Zhang pointed out, “Deviance such as homosexuality has long been considered in Oriental culture like a sign of “transgression” that demands a different sort of order of social normality”(103). Therefore , My spouse and i conclude that Dieyi’s misfortune is an inevitable effect given the overall homophobic culture he hails from, and his fatality in the end can be interpreted as the effective extermination of “nomad”, or a sort of risk, of the orthodox feudal culture. Finally, I actually tried to reveal the implied message this film provides to the open public.

I discovered this movie is seen as a modern version from the well-known experience Farewell My personal Concubine, but with a new meaning, a new expectation to our contemporary world. By bring up homosexuality, a very sensitive issue that is suppressed for hundreds of years, the movie advises an immediate need for China’s modernization, a call for a liberal society, by which minorities just like homosexuals may seek for pleasure like someone else. Reference Minutes Tian, “Male Dan: the Paradox of Sex, Operating, and Understanding of Woman Impersonation in Traditional China Theatre”, Oriental Theatre Journal, Vol. six, No . 1(Spring, 2000), pp. 78-97, University or college of Hawai’i Press. Metzger, Sean. “Farewell My Fantasy”. Journal of Homosexuality 2000, Vol. 39 Issue 3/4, p213. EBSCO. Olin Collection. Washington College or university in St Louis. 31/03/2011 16: 15. &lt, http:/ web. ebscohost. com&gt, Benzi Zhang. “Figures of Physical violence and Tropes of Homophobia, Reading Farewell My Soupirant between East and West”. Journal of Popular Lifestyle Fall99, Vol. 33 Concern 2, p101-109. EBSCO. Olin Library. Washington University in St . Paillette. 31/03/2011 18: 10. &lt, http:/ internet. ebscohost. com&gt

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