Aris Folley
Professor Schweizer
Non-West. Literature
2 November 2014
Raise the Red Lantern: Comparison Paper of Literary to Film
Despite the novella’s publish in 1990, one of Su Tong’s most notable literary oeuvres, as critics would acclaim, Wives and Concubines, speaks volumes to a socialist reality in its cinematic representation of 1920s China. Abandoning the country’s heavily political influenced rule of creative expression, Tong stripped his work of traditional Chinese custom, seeking to provide the people of China with a form artistry completely straying from the standard traditional confinements artists faced of that era. Seeking to¬ preserve the voice of this powerful written, while reconstructing the artwork in his own respect, …show more content…
In the novella, the well has great significance for Louts, acting as almost a narrative in its own token, while providing the character with form of escapism as she often retreats to the well.
However, Yimou’s significance place on the courtyard in the film, though it does not replace the purpose of the well, plays a pivotal role in the shaping of the atmosphere in the Zuoqian household. An enclosed square of space just before entering the small square of residence within her assigned bed chamber, the set up almost mimics that of a prison, hinting at the impression of a sentence on the evening of her imprisoning bind, her wedding night.
The way in which the characters are portrayed also stresses highly contrasting themes. Chen’s influential, firm attitude in the film earns him a powerful presentation on screen, but, on paper, the character is presented as much more weak and fragile. The night he and Lotus prepare to consummate their marriage, the new bride inquired about his rather frail state, to which the patriarch responds after “climbing” onto the bed and “crawling” under the quilt, “They’ve worn me out” (Tong …show more content…
Although Tong describes the master’s physical state with great detail and practice of imagery, this approach to Chen does not translate over into Yimou’s adaptation. Yimou, instead, utilizes the lighting and camera, to present what seems to be as little visual of the master as possible, usually placing the character in the shadows as a distant, yet almost pervasive presence -if not in directly, then on behalf of his staff- depicted to hold great power, partially attributable to Yimou’s rather mysterious effect by use of chiascuro lighting and a rather dark mise-en-scene when Chen is present.
Whereas, the mistresses, Lotus, especially, being the main character of the film, are after shot in close-up, a clever strategy by Yimou in regards to character portrayal. These close-ups place more focus on the character, and act as a small window that permits minimal movement, presenting the women in an almost binding predicament, limited with
Professor Schweizer
Non-West. Literature
2 November 2014
Raise the Red Lantern: Comparison Paper of Literary to Film
Despite the novella’s publish in 1990, one of Su Tong’s most notable literary oeuvres, as critics would acclaim, Wives and Concubines, speaks volumes to a socialist reality in its cinematic representation of 1920s China. Abandoning the country’s heavily political influenced rule of creative expression, Tong stripped his work of traditional Chinese custom, seeking to provide the people of China with a form artistry completely straying from the standard traditional confinements artists faced of that era. Seeking to¬ preserve the voice of this powerful written, while reconstructing the artwork in his own respect, …show more content…
In the novella, the well has great significance for Louts, acting as almost a narrative in its own token, while providing the character with form of escapism as she often retreats to the well.
However, Yimou’s significance place on the courtyard in the film, though it does not replace the purpose of the well, plays a pivotal role in the shaping of the atmosphere in the Zuoqian household. An enclosed square of space just before entering the small square of residence within her assigned bed chamber, the set up almost mimics that of a prison, hinting at the impression of a sentence on the evening of her imprisoning bind, her wedding night.
The way in which the characters are portrayed also stresses highly contrasting themes. Chen’s influential, firm attitude in the film earns him a powerful presentation on screen, but, on paper, the character is presented as much more weak and fragile. The night he and Lotus prepare to consummate their marriage, the new bride inquired about his rather frail state, to which the patriarch responds after “climbing” onto the bed and “crawling” under the quilt, “They’ve worn me out” (Tong …show more content…
Although Tong describes the master’s physical state with great detail and practice of imagery, this approach to Chen does not translate over into Yimou’s adaptation. Yimou, instead, utilizes the lighting and camera, to present what seems to be as little visual of the master as possible, usually placing the character in the shadows as a distant, yet almost pervasive presence -if not in directly, then on behalf of his staff- depicted to hold great power, partially attributable to Yimou’s rather mysterious effect by use of chiascuro lighting and a rather dark mise-en-scene when Chen is present.
Whereas, the mistresses, Lotus, especially, being the main character of the film, are after shot in close-up, a clever strategy by Yimou in regards to character portrayal. These close-ups place more focus on the character, and act as a small window that permits minimal movement, presenting the women in an almost binding predicament, limited with