How does the feminine focus of Zhang Yimou’s films challenge the conventional Chinese conception of ‘male superiority over females’?
Introduction
China’s patriarchal system and its emphasis on a male dominant society have resulted in the oppression and degradation of Chinese women (Yun 2013). It could be argued that such ineradicable sexist ideologies stem from Confucius’ philosophy of ‘filial piety’, which consists of three stipulations, one of which is that women must obey men (Li 2000). Although women became exposed to more rights and freedom with the establishment of the People’s Republic of China (PRC) in 1949, the traditional perception of women as men’s “province and property” (Cui 2003) and ‘sex objects’ have prevailed throughout …show more content…
For the purpose of highlighting the inequality faced by women and their struggles under a male dominated society before the formation of the PRC (Jordan 1994), this essay will focus on Zhang Yimou’s ‘Red Trilogy’ (Red Sorghum (1987), Raise the Red Lantern (1991) and Ju Dou (1990)), which were all set in the early twentieth century. This essay will, in particular, examine the lead female characters’ utilisation of males to attain the centre of authority, their masculine characteristics and usage of the female sexuality and body to epitomise the subversion of the conservative notion of ‘superiority of males over females’ (Chen …show more content…
In line with Jiu’er, Ju Dou had two pivotal relationships, which allowed her to gain autonomy. In traditional Chinese society, women had no freedom of marriage and were forced to submit to their husbands after marriage (Yu 2011). However, Ju Dou overturns this conviction by overtaking Jinshan’s dye-factory through the illicit relationship with Tianqing. As the official wife of Jinshan, Ju Dou gains the partial title of the owner of the dye-house and is known to the whole village as
Introduction
China’s patriarchal system and its emphasis on a male dominant society have resulted in the oppression and degradation of Chinese women (Yun 2013). It could be argued that such ineradicable sexist ideologies stem from Confucius’ philosophy of ‘filial piety’, which consists of three stipulations, one of which is that women must obey men (Li 2000). Although women became exposed to more rights and freedom with the establishment of the People’s Republic of China (PRC) in 1949, the traditional perception of women as men’s “province and property” (Cui 2003) and ‘sex objects’ have prevailed throughout …show more content…
For the purpose of highlighting the inequality faced by women and their struggles under a male dominated society before the formation of the PRC (Jordan 1994), this essay will focus on Zhang Yimou’s ‘Red Trilogy’ (Red Sorghum (1987), Raise the Red Lantern (1991) and Ju Dou (1990)), which were all set in the early twentieth century. This essay will, in particular, examine the lead female characters’ utilisation of males to attain the centre of authority, their masculine characteristics and usage of the female sexuality and body to epitomise the subversion of the conservative notion of ‘superiority of males over females’ (Chen …show more content…
In line with Jiu’er, Ju Dou had two pivotal relationships, which allowed her to gain autonomy. In traditional Chinese society, women had no freedom of marriage and were forced to submit to their husbands after marriage (Yu 2011). However, Ju Dou overturns this conviction by overtaking Jinshan’s dye-factory through the illicit relationship with Tianqing. As the official wife of Jinshan, Ju Dou gains the partial title of the owner of the dye-house and is known to the whole village as