Question 1
One of the most conspicuous thematic elements of the films made in the Asian region is the conflict between the individuals and the social influences or practices. Many directors hailing from different Asian cultures have come forward to make films dealing with such themes. These films have also gained much critical acclamation and popularity all over the world as they are very aptly made to reach out to the emotions and aesthetic sense of the masses. If one explores a few iconic films of Asia, it would become very clear how the makers have inserted elements of dichotomy in the plots. In fact, the conflict of the individual spirit and the social impositions drive the narrative of the film and show enormous effect on the lives of the characters. The cinematic work Peking Opera Blues made by the famous director, Tsui Hark, and the film, Ju Dou, made by the famous Chinese director, Zhang Yimou along with Water by Deepa Mehta are examples of such cinematic works that embody this friction between the society or family and the individual.
In the film, Peking Opera Blues, the female protagonist can be seen in a conflict with her father. This conflict is that of individualism and familial commitment and is shown in the film in the form of political difference and ideological commitment of the respective characters. While on one hand the director explores the actual events of modern Chinese history by depicting the rise of General Yuan Shi-Kai to power in the year 1913, it also explores the personal conflict of the characters. The conflict starts when the new leader has to take a huge loan from the European governments for being in power. He takes the help of General Cao, whose daughter is with the revolutionaries. As such, General Cao’s daughter plans to steal the documents regarding the loan for the help of the revolutionaries. (brns.com 1) Thus, one can comprehend that this film goes on to explore the conflict between the female protagonist and her father. In a society like that of China, the eldest males are the heads of the families, and all the other members of the family are expected to be obedient and respectful of the person. However, in sheer contrast to the social norms, this film shows how the female character is ready to go against her father’s ideology and disposition for the establishment of her individual choice of ideology and politics.
As such, the film engages in exploring the avenues of Chinese culture and community through the inter-personal relationships of the characters and the subsequent conflicts that rise from various issues. The theme of emancipation from the pressures of the society is echoed in the work of the director. Moreover, this film touches upon the issue of gender attributes as the female protagonist is seen playing a courageous part- something that is more often ascribed to the masculine gender. So, it can be said that this cinematic work goes on to subvert the gender roles that are established in the society of China. It shows the capacity and inner spirit of the female character, thereby focusing on the theme of conflict between the individual and the societal parameters and expectations. In spite of the fact that the inter-personal conflict remains a futile matter in the larger context of the society and political scenario of China, the dichotomy that is shown in the film cannot be overlooked in any way.
On the other hand, Zhang Yimou’s famous film, Ju Dou, explores the inter-personal conflicts and also the role society in shaping the psyche and perspective of the individual. Here, one finds how an aged man named Yang Jinshan buys a young lady named Ju Dou as his wife. He tortures her at night and there is no emotional bond between the two people. As the narrative progresses, Ju Dou gets involved with Yang Tianqing who is the adopted nephew of Jinshan. Ju Dou gets impregnated, but her husband comes to know of the affair of his wife. The film shows how Jinshan endeavors to kill the child, but fail. As the narrative advances, one finds that Jinshan is left half-paralyzed, while he finally comes to accept the child out of his emotions. Even after his demise, Ju Dou and his adopted nephew continue their affair. This very plot of the film shows how both Ju Dou and Tianqing go against the normative practices and moral standards of the society to engage in the affair satiating their personal desires and emotions.
The theme of individualism and its conflict with the social parameters is thus portrayed in the cinematic work by Yimou. The dichotomy is established as one finds that Ju Dou seeks to have contraceptives as she knows that the adulterous relationship would never be accepted by the society. As their son comes of age, he is disturbed by the rumors of the neighborhood about the adulterous relationship of his mother. One day, he sees his biological parents together, and in a fit of rage he drowns Tianqing. (Larrea 1) This act of violence on the part of the teenager shows how the society comes to shape the psyche of the individual. Being under the immense influence of the societal norms and actions, the teenager never thinks that he is murdering his own father. He is driven by the pressures and the accepted behaviors that are sanctioned by the community and the people of the society. Thus, this film shows how the individual spirit or desire stands at loggerheads with the society and its influences.
Likewise, Deepa Mehta too explores the conflict between the society and the individual in the film, Water. Here, she shows how the widow, Kalyani, has to embrace prostitution just to run the ashram where the widows stay. However, when she meets Narayan, a Gandhian idealist, they fall in love with one another and decide to get married. In a pre-independence conservative society like India this can be seen as a very bold step on the part of both the individuals involved in the relationship. The conservative Hindu society of the pre-independence era ostracized the widows. Nonetheless, Kalyani shows the courage to come out of the social constrictions to aim about starting a new phase of life. Her dream is broken when she comes to know that Narayan’s father has been one of her previous customers. In guilt and shame she goes on to commit suicide. A distraught Narayan confronts his father, and leaves his home to join Gandhi in his struggle for independence. (Ebert 1) In this manner, this film by Mehta embodies the conflict between the individual and the society. The tremendous pressure of the societal parameters can be understood when Kalyani, an apparently bold female, has to bow down and kill herself.
As such, all these films in context show the immense conflict between the individual and family or society. These portrayed conflicts and the commonality of theme of struggle can be seen as the cinematic expression of the harsh realities of human life in the society. The conflicts portrayed surely enhance the affective appeal of these works. The films leave an lasting mark in the minds of the audience from all over the world as they explore a theme that finds universality in the expression and struggle of the courage, emotions and commitments of the individuals pitted against the impetus of the society and its institutionalized forces that encompass the human lives.
Works Cited
Ebert, Roger. “Water.” RogerEbert.com. rogerebert.com, 4 May 2006. Web. 30 April
2016.
Ju Dou. Dir Zhang Yimou. Perf. Gong Li, Li Baotian, Li Wei. Hu Jian, Yasuyoshi
Tokuma, Zhang Wenze, 1990. Film.
Larrea, Corlota. “A Portrait of Lives Constrained: Zhang Yimou’s Ju Dou.” Senses of
Cinema. sensesofcinema.com, May 2015. Web. 30 April 2016.
Peking Opera Blues. Dir. Tsui Hark. Perf. Brigitte Lin, Cherie Chung, Sally Yeh. Cinema
“Peking Opera Blues.”brns.com. brns.com, n.d. Web. 30 April 2016.
Water. Dir. Deepa Mehta. Perf. Seema Biswas, Lisa Ray, John Abraham. David
Hamilton Productions, 2005. Film.
