Professional Documents
Culture Documents
History, Melodrama, and Ideology
History, Melodrama, and Ideology
Chinese Cinema
Author(s): Jenny Kwok Wah Lau
Source: Film Quarterly , Autumn, 1995, Vol. 49, No. 1 (Autumn, 1995), pp. 16-27
Published by: University of California Press
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access to Film Quarterly
16
Farewell a
My Concubine
Judging from the general response in the West, essay I will delineate the different currents, namely
Concubine is considered Chen's masterpiece. In fact, the heated intellectual debate concerning film theory
it seems that a trend of acceptance of Chen's films, and practice that took place in Mainland China during
the eighties, the commercialization of the Mainland
where criticism lapses into a celebration of excellent
Chinese cinema which ran parallel to this debate, the
art, is well on its way. I, however, view Chen's works
with mixed feelings; Concubine may well be the deci- commercial takeover of the Mainland and Taiwan
screens by Hong Kong cinema during the same pe-
sive film of his career but for reasons that are beyond
artistic considerations. riod, and the Hong Kong-Taiwan commercial alliance
With the release of Concubine the moment has that capitalized on exporting Chinese "art" cinema in
come to reassess the achievement of Chen so far, tothe nineties. Having situated Concubine at the cross-
sort out his strengths and weaknesses and to suggest road of national and international production, I will
how his works might properly be read. To tackle theseargue that symbolic productions such as film can be.
questions one must put Concubine in a larger context,viewed as a site of negotiation for different cultural
that of several significant film movements occurring traditions, and that the reading of Concubine necessi-
tates a consideration of both Western and Chinese
within contemporary Pan-Chinese Cinema, which
conventions of symbolic production and interpreta-
shaped the conception of the production, distribution,
tion.
and the exhibition of the film itself.2 In the rest of this
17
18
19
In addition to the vast geographical and historical mands of the theaters, which needed about 100-150
resources that China has to offer, co-production is films a year. In the midst of this disintegration a small
important for the Hong Kong film industry for other number of young local film-makers, encouraged by
reasons. First, co-production with the Mainland al- the Hong Kong New Wave directors, tested out the
most guarantees distribution and exhibition in the waters. The result was the birth of the now well-
huge market of China. Second, because of the upcom- known Taiwan New Wave (1981-85), which gener-
ing transition of 1997, a significant number of media ated such world-class directors as Hou Hsiao-hsien
talents have migrated overseas, resulting in a continu- and Edward Young. Between 1981 and 1983, Taiwan
ous weakening in the supply of personnel. Mainland was able to recapture some of her own audience with
China, with her state-supported film training program, the New Wave films. For example, in 1983 eleven
can provide the extra hands that Hong Kong needs. New Wave films were made out of which seven made
While the Hong Kong entertainment films capti-a substantial profit.13 But on the larger commercial
vated the audience of socialist China they also took
front Hong Kong films, as early as the mid-1980s,
control of the Taiwan market. This domination was completely dominated the Taiwan market with such
caused by several factors. Following the decline of as Aces Go Places, Project A, Long Arms of the
films
Law, and Mr. Vampire.
mandarin Kung-fu and wu-xia films in the late 1970s,
the Taiwan film industry came to a halt. ProductionPolitical changes in the 1980s in Taiwan did not
dropped from about 200 films per year to 50-80 films
always help that country's film industry either. In 1986
in the 1980s. This was barely enough to feed the Taiwan
de- lifted its quota for the import of foreign films.
20
21
22
23
traditional woman and actively seeks to be with The suicide of Dieyi was calculated to be climac-
Xiaolou, her aspiration hardly goes beyond that of tic and heroic. Similar to many other Lie nu24 stories of
being Xiaolou's wife. In her engagement withthe past in which the woman commits suicide for the
Xiaolou, when the audience first sees them meet, the unattainable man, because of his death or otherwise,
Dieyi's indulgence is sanctified, just as the Zhen Lie
shot/reverse shot of them toasting conforms with the
nuzi (chaste women) were, through her/his death. In-
cinematic tradition of casting the woman as the bearer
of the male's look even when, in this particular epi-terestingly enough, in the original novel, written by a
sode, she is looking back. The determined look of the woman, there is no heroic death of any kind. For both
latter does not relinquish her position of being the characters life simply goes on in banality. It seems that
erotic object of the male gaze. the male fantasy, ideologized through thousands of
years of popular Confucianism, still grips the imagi-
In the rest of the film Juixian actively pursues her
man. This is in contrast with many traditional Holly- nation of a contemporary post-socialist artist.25
wood melodramas of the fifties in which the female
object is much more passive. The image of a sexually
aggressive female, epitomized in the stardom of ac-
tress Gong-li, is commonly found in Fifth Generation
Hong Kong Escapist
films. It is easy to misunderstand the character to be a
sign of women's liberation in China. But if one com- Suppression and
pares this image with the one projected in the past 30 Chinese Centrism
years in socialist China, the "Gong-Li image" is but an
amalgam of the traditional socialist strong woman, Lilian Lee was a wise choice for a script-
who fearlessly pursues her (revolutionary) goal withinwriter. Although Lee's work is generally not reco
the pre-socialist feudalistic male fantasy of a femalenized for its depth (as compared to other Hong Kon
dedicating herself to a single male. The two kinds ofwriters such as Chuang Aui-ling), nevertheless she
"strong woman" in fact represent very little structural one of the most popular novelist/scriptwriters in Hon
difference. The only change between the heroines ofKong. The film Concubine builds on Lee's origin
the two cinemas is a change of their masters, from the novel, and thus carries both the strengths and th
state back to the old patriarchal man.23 weaknesses of its author.
At the same time the patriarchal definition of Lee's novels, such as The Reincarnation of the
femininity, which hardly goes beyond the notion of Golden Lotus, and Rouge (filmed by leading Second
"the lack," is supplemented by the classical Chinese Wave directors Clara Law and Stanley Kwan respec-
practice of gender-based social roles. In the process of tively), are characterized by a strong melo-dramatiza-
self-actualization the male is the subject of the en- tion of personal experiences placed within intense
abling process and the center of the sacrifice while the historical moments of the larger society. As these
females are the (domineering) enablers and the sacri-moments are usually contemporary incidents in
ficed. The real female protects and promotes China, Lee's stories carry a kind of realism or a sense
24
of imminence. Unfortunately, the weakness of her until the 1980s, after the Declaration of the Sino-Brit-
ish Agreement on 1997, did the local Chinese have
scripts lies exactly in her characters' superficial rela-
tion to history. much say about their society. The result has been an
In Concubine there is not much to show the emo- attitude of resignation or suppression. Somehow, a
tional dynamics of the protagonists when facing sig-fantasy was generated that, for over a hundred years,
nificant historical changes. The night that the history (the ceding of Hong Kong to the British, the
Japanese enter Beijing is also the night that Dieyi Japanese Occupation during World War II, the 1997
accepts a patron's advances and decides to tell return of Hong Kong to China, etc.) was simply thrust
Xiaolou that they will never perform together again. upon the Hong Kong Chinese, and the way to handle
The incident seems to occur suddenly and responsethese impositions was to deny any emotional response
from the characters is minimal. Similar incidents such and simply seek survival.
as the Cultural Revolution are also portrayed without Interestingly enough, this attitude of noninterfer-
a concern for the psychological tension of the charac- ence with history overlaps to a certain extent with
ters. director Chen's post-Cultural Revolution mentality,
A critic has observed a similar pattern and com- although for a reason totally different from Lee's. The
ments that in "the process of political turmoil we (theover-politicized environment of the Cultural Revolu-
audience) lose contact with the characters.... Human tion, which rendered private personal life impossible
motives disappear, to be replaced with ideology."26 and minimized national productivity, has caused the
But more importantly, Lee's attitude also reflectsMainland
a Chinese to resent the overt interference of
Hong Kong mentality of escape from history, or what politics in daily life. The episode in which Dieyi res-
is commonly known in Hong Kong as "political cold- cues his friend Xiaolou and ignores the political impli-
ness." Given the colonial status of Hong Kong, notcation of his performing for the Japanese is the film's
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27