Question 1
It needs to be reckoned that the films made in Asia over the past decades have truly come to excel in the form of cinematic art, and have gained enormous popularity as well as critical acclaim all over the world. If one delves into a few of the iconic Asian films ever made in the history of cinema, it can be comprehended that these films explore the thematic content of the dichotomy between the spirit of emancipation of the individual and the constrictions of the societal norms or the cultural community. A close scrutiny of a few iconic films made by stalwart filmmakers of the region would lead to a much better comprehension of the matter in context. The film Peking Opera Blues directed by the famous director, Tsui Hark, the iconic film, Ju Dou, directed by Zhang Yimou and the path-breaking cinematic work, Water, directed by Deepa Mehta can very well be taken to be the perfect cinematic embodiments of the conflict between the individual and the society or family. This central conflict is depicted in the films through the lives and experiences of the main characters that are shown to be caught up in the dichotomy.
Tsui Hark’s film, Peking Opera Blues, can be described to be a cinematic work that embodies the conflict between the individualism of the female protagonist in the face of the onus of her commitment to the family. The film portrays the crossroads in the modern history of the nation of China. In the year 1913, General Yuan Shi-Kai went on to take the power in the wake of the fall of Qing Dynasty. However, the narrative shows how the General needs to loan a huge sum from the European governments for the purpose of staying in authority. General Cao is found to help General Yuan in getting the loan, while his daughter is found to be associated with the revolutionaries. She plots to steal the documents of the loan from General Cao. Thus, the very central conflict portrayed in this film is that between the father and the daughter. By siding with the revolutionaries, the female protagonist is definitely getting at loggerheads to her commitment to her family and her loyalty to him. Ideologically, she is aligned with the revolutionaries who stand in stark opposition to the political stand of General Cao. The director shows the dichotomy between the individual identity and the effect of the obligations of the female character to her parent.
It can be comprehended that a parent’s influence would indoctrinate the ward to much extent, and would normally not give rise to conflicts of any sort, so as to totally subvert the stand of the elder member of the family. Now, one must remember that China’s familial traditions and structures are quite different from the Western world. The eldest male member is the patriarch or the decision-maker in the family, and his influence is nothing but a surmounting one of the other members. In such a scenario, the female protagonist dares to show her individualism as she goes against her father. It has to be remembered that the plot of this cinematic work deals with real politics and history, while the individual spirit of the women characters (especially that of the protagonist) and the conflicts in the lives provide universality to the thematic content of the work. The director makes sure that the gender roles that are portrayed in this film are subversive of the patriarchal parameters or norms of the Chinese society. This in turn works to reiterate the thematic content of the film and shows the dichotomy between the normative actions expected of the females and their actual disposition in the filmic narrative. However, the ultimate irony of the narrative of this film is that the victory comes across to be a futile one as the struggles of the characters truly has no real effect on the future of the nation or the people. Thus, the characters were only triumphant in this battle in the war that they lost. (lovehkfilms.com 1)
Again, one can take into the context of this discussion the film, Ju Dou, directed by the famous creative artist, Zhang Yimou. This film explores the dynamics of inter-personal relationships and the effect of the societal norms on the individual. The film shows how Ju Dou, the female protagonist, has been bought as a wife by Yang Jinshan, an aged man. He tortures his wife at night and is himself impotent. Jinshan’s adopted nephew, Yang Tianqing, falls for Ju Dou with time as the two engage in a physical relationship with one another. It needs to be reckoned that the Chinese society of the time that is portrayed in this film was very rigid in its stand regarding the infidelity of a woman. Nonetheless, Ju Dou shows enough courage and gives way to her personal emotions that undermine the societal norms and influences. In the same manner, Tianqing too goes on to defy the normative behavior and gets involved with someone who is his aunt by relationship. This incestuous and infidel relationship could have never been accepted in the Chinese society in any way.
Thus, the filmmaker delves into the central theme of conflict between the free will and emotions of an individual and the onus of the societal parameters and practices. As per the perspective of the society, the adulterous act on the part of the characters would have been seen as a major sin and an act of immorality and disloyalty to the spouse. Ju Dou’s husband responds violently when he comes to know of the infidelity of his wife. Although he has been paralyzed in his lower part of the body by that time in the narrative, he endeavors to kill the child but fails. The conflict further takes a physical form when Ju Dou’s husband is left hanging in a barrel as a repercussion to his attempt of harming the child. It is truly intriguing to find how the director explores the theme of individualism pitted against the pressures of the society and the community in this film, touching upon issues of morality, commitment and loyalty as well. However, as the course of the narrative of this film progresses, Ju Dou is found to be on the defensive when he seeks for contraceptives, knowing very well that her adulterous relationship would never be accepted by the society. The director explores the possibility of a truce between the societal influence and the individual freedom through the portraiture of such an act on the part of Ju Dou. Similarly, as her husband comes to accept the child out of his emotions, one can understand that the way forward in such a scenario of conflict is reconciliation and true between the oppositions. (Ebert 1)
However, the son of Ju Dou after having reached his teenage works as the retributive force of the society when he drowns his biological father after having found out about the relationship between his mother and him. This works to show that the future generations are influenced by the societal parameters as well, and might not come to accept the emancipation of the individual from any societal and moral bindings as shown in this film. Thus, Zhang Yimou successfully embodies the conflict that encompasses the human society. He complicates the plot by juxtaposing generations and even showing the surmounting effect of the society on individual psyche. This film can very well be described to be one of the finest works of cinema that explores the theme of conflict between the individual and the social institutions and the cultural markers. Thus, the film works to reiterate the thematic content analyzed in Tsui Hark’s film, Peking Opera Blues. While Hark shows the subversive power of the females in another context, Zimou explores the avenue of female sexuality and desire in the film, Ju Dou.
One can also analyze how Deepa Mehta’s film, Water, delves into the theme of conflict between the society and the individual. Here, the audience finds the insight into how the widows were treated in the Indian society in the past century. The film delves into the story of an eight year-old widow and her friendship with Kalyani, another widow, both of whom live in this ashram. The narrative shows how Kalyani has to work as a prostitute for earning money for running of the ashram. However, as she gets involved with a Gandhian youngster, Narayan, she finds the courage to break free from the social customs ascribed for the widows. She wishes to get married to him, but in a tragic turn of events finds out that Narayan’s father has been with her as a customer before. In sheer shame and guilt, Kalyani has a change of heart. By the time Narayan comes for her, she has committed suicide by drowning herself. Thus, this narrative shows the dichotomy of heart of the female protagonist who is torn apart between her individual aspiration and desire and the societal scrutiny. She is overcome with the negative emotions that finally overshadow her individual spirit and her love for Narayan. Again, the conflict is embodied through the actions of Narayan as well who goes against the societal practices to dare wishing to marry a widow, and that too a prostitute. He confronts his father about Kalyani and dares to leave his ancestral home to join Gandhi and his struggle.
Thus, it can be commented that all the films that have been discussed portray the conflict between the individual and the society or family. The conflicts portray the complex realities of life and show how a person is emotionally affected by the onus of the societal institutions. The Asian films in context have been immortalized in the history of world cinema owing to their aesthetic and artistic excellence. The directors are highly successful in hogging the attention of the world’s audience to leave a lasting impression in the core of their minds with the sheer quintessence of their artworks. The films explore the dynamics between the society and the individual showing the institutionalized practices and customs of the cultural milieu in stark juxtaposition to the free spirit of the individual characters of the films.
Works Cited
Ebert, Roger. “Ju Dou.” RogerEbert.com. rogerebert.com, 12 April 1991. Web. 30 April
2016.
Ju Dou. Dir Zhang Yimou. Perf. Gong Li, Li Baotian, Li Wei. Hu Jian, Yasuyoshi
Tokuma, Zhang Wenze, 1990. Film.
Peking Opera Blues. Dir. Tsui Hark. Perf. Brigitte Lin, Cherie Chung, Sally Yeh. Cinema
“Peking Opera Blues.” Love HK Film.com. lovehkfilm.com, n.d. Web. 30 April 2016.
Water. Dir. Deepa Mehta. Perf. Seema Biswas, Lisa Ray, John Abraham. David
Hamilton Productions, 2005. Film.
