Gender roles have undergone dramatic changes in modern China during the 20th century, particularly since the rise of the People’s Republic of China in 1949. There are three main ancient philosophies that have substantially influenced and deeply rooted in China for a long time. They are Confucianism, Taoism, and Buddhism. Among three philosophies, I believe Confucianism has influenced China the most and still have a lot of remains when closely looking at every aspect of the Chinese culture. Confucianism is defined as every human relationship has superiority and inferiority and a superior person should take care of an inferior person and sets a good example. The inferior person should respect the superior in return (Yang 2016). In the application, men are positioned superior to women in society in China and this relationship has formed deeply rooted patriarchy since the ancient China. This patriarchy has caused gender inequality in China and typically women used to be economically and socially disadvantaged in society having limited opportunities and voices. According to the article called Gender and Family in Contemporary Society, “the traditional Chinese family has been characterized as patriarchal, putting women at a severe social disadvantage relative to men (Xie 2013).” However, gender inequality has been eased and improved since 1949 giving more positions and opportunities to women in society. The Destiny and Pretty Maids, two contrasting fictional films, successfully depict how gender roles differ in the traditional and contemporary China.
Before going directly into the films mentioned above, patriarchy in China should be discussed because the importance of patriarchy, the major cause of gender inequality in China, cannot be overlooked. Patriarchy in China has benefited society by stimulating and shaping men with full of responsibility and bravery in their own family, which extends beyond their role in the family to their nation producing many patriots such as the emperor Qin, the assassin Jing Ke, and the scientist Qian Xuesen. Despite the benefit of patriarchy, this system has been a critical obstacle to improve gender inequality in China and the obstacle hinders the economic growth of China since not fully utilizing talented female workforces in contemporary society indeed decrease productivity in the Chinese economy. According to the article called Gender Equality and Economic Growth, “gender equality will enhance human capital and foster higher labor productivity.” Conversely, “gender inequality is inefficient and lowers productivity (Ward, 2010).” Therefore, reducing gender inequality is significant to improve an economy in contemporary society, which applies to any countries. Of course China is one of the countries, which has strived to resolve gender inequality in the purpose of achieving an economic development and providing basic human rights to all citizens. Moreover, after switching to Communism China altered some laws and regulations providing women with more freedom and rights, for example the United Nations International Convention on the elimination of all forms of discrimination against women (CEDAW) (1980), the “Law on the Protection of Rights and Interests of Women” (1992) and the “Law on Maternal and Infant Health Care” (1994) just to name a few. (Attané 5-15) These improvements were caused not by sudden realization of limited and oppressed women`s position, on the contrary, these amendments were evoked by government`s pragmatic desire to be successful and powerful country which required full dedication and equal input of both sexes. Thus, Isabelle Attané in her article Being a Woman in China Today: A Demography of Gender points out that “the Chinese government quickly understood that the legitimacy of the country in the front ranks of world powers was dependent on its adherence to important international principles, notably those relating to the rights of women, and that it was important to support the pursuit of gender equality in order to ensure harmonious, sustainable development within the globalisation process (Attané 5-15).” With this in mind one sees that idea and desire to end gender discrimination is not a natural process but rather an artificial and forced by authorities which cannot guarantee total emancipation and absence of chauvinistic treatment from men. By comparing two films, differences in gender roles between the traditional and contemporary Chines can be easily noticed and learned. Moreover, one may observe changes the Chinese authorities underwent in order to make women equal. The film The Destiny represents the traditional gender roles in China whereas Pretty Maids represents the contemporary gender roles in the contemporary China.
The film The Destiny is a Chinese romance film directed by Reng Peng in 2014. The time background of the film is set during the early 20th century when China is engaged in a war with Japan to fight against a Japanese invasion. In brief, this film depicts a tragic love story of Ming Hao and Lin, a young man and a woman, in the southern floating town of China that ends with the heartbreaking episode of Ming Hao leaving to join the army to fulfill his civil responsibility as a citizen of China. Throughout the film, many aspects of the Chinese culture are shown. One may point out that the most significant would be the Chinese hierarchical system deeply rooted in a family. The Chinese hierarchical system refers to patriarchy, men-dominated familial system, which is originated from Confucianism. It has been not only in a family, but it extends its boundary to all places in China such as in work, school, and even in friendship. In the system, the male eldest becomes a leader and a decision maker who cares about his inferior family members and gets respect and loyalty in return from a family. For example in the film, when the family has a major conflict of whether they should allow Ming Hao and Yulin to get married or not, they directly bring this issue to the grandfather who is the eldest and the most respectful in the family to ask for a solution. This clearly indicates that the eldest in a family used to be the most respectful person and holds the highest position in the hierarchy. Conversely, this shows gender inequality because it was always men who take a major role in a family not women in the traditional China. Women were limited to maternal and household responsibilities. It should be mentioned that “the anchoring of gendered roles in Chinese households is also due to the persistently high value placed on maternity” which indicates that women were just a tool of continuing husbands` generation. (Attané 5-15) Moreover, strict gender roles and expectations that were depicted in this film can be still traced in modern China society thus “the role of the husband as the economic support of the family, and that of the wife as centred on the home and domestic tasks, remain firmly anchored not only in marital practices but also in the expectations that spouses have of each other (Attané 5-15).”
In addition, there is one more important fact that proves gender inequality in the film. For example, Yulin, who even gets abandoned by her fiancé, never complains about her unfortunate situation rather she stays with her family-in-law to fulfill her responsibility by showing filial piety to family-in-law members. This is a rare situation that is hardly going to happen today. But, Yulin simply abandons her identity and accepts her destiny to fulfill her social responsibility as a woman. She is a symbol of oppression of women and it typically includes “arranged marriage, foot-binding, male domination, preference of boys over girls, and trafficking women (Yang 2016). This clearly proves that women in the traditional China had limited authority in terms of voices, roles, and opportunities not only in a family but also in society as a whole.
Moreover, there is another scene goes against the system when the grandfather kneels down for the death of his first grandson Mingxuan and praises his grandson as a hero who dies to defend his home country. The rest of the family gets shocked by the reaction so that they try to stop him from it but eventually all kneel down too after realizing the grandfather is not keeling down for younger generations rather he is kneeling down to commemorate the hero of the country. This scene also substantiates limited gender roles of women in the traditional China. The social perception of superior male elders keeling down to inferiors is socially unacceptable and shocking even to share grief at their family members’ death is unfair to women. There is no boarder between superiority and inferiority in the face of a serious situation such as a death. Every person can grieve in their own ways, so determining whether it is acceptable or unacceptable acts based on gender superiority and inferiority in society can be seen as gender discrimination. Overall, the film accurately depicts patriarchy or male-dominated society of the traditional China. This can be interpreted as the main cause of limited gender roles of women or gender inequality in China.
On the other hand, the film Pretty Maid represents changes in gender roles and reduction of gender inequality in the contemporary China. The reduction means more voices, roles, and opportunities for women. Pretty Maid is a Chinese film directed by Hai Da in 2014 and it successfully depicts in what way gender roles have changed in China through modernization and westernization. Briefly the film is about Chunzhi, a divorced woman raising a daughter, who is employed as a maid by the daughter who is married with an American husband and planning to live in the US. The daughter substitutes her place to the maid in order to take care of the lonely father, professor He, when she is absent. The father strongly refuses the maid’s service at the beginning, but they become closer eventually teaching each other practical life lessons. Throughout the film, many interesting aspects of the Chinese culture are noticed, particularly in gender roles. Their hardships in communication and attitude can be explained by rooted sense of superiority and dominance in He. Therefore research conducted by Su-hao Tu Ying-hwa Chang suggests that “Men born between 1950 and 1959 are more traditional than others (Tu and Chang).” Significantly that Su-hao Tu Ying-hwa Chang found that “systematically men are more likely than women to be traditional in gender role attitudes” which explains He`s behavior patterns. (Tu and Chang)
Moreover, in the traditional Confucianism, typically women were supposed to be dependent and submissive to men. Also, it was not acceptable for women to get divorced then live their own life independently. However in the film, Chunzhi, a divorced wife, contrasts the traditional Confucianism. She is completely independent and masculine rather than dependent and feminine. Her representation in the film is a symbol of empowerment of women in the contemporary China. Another sign of changes in gender roles is the marriage law, “free-choice marriages and explicitly equalized wives’ rights and interests with those of husbands (Xie 2013)”, legislated in China in 1950 has given Chunzhi the right to achieve independence even after her marriage. On the other hand, professor He, the father, is dependent and feminine rather than independent and masculine. He is very sensitive and emotional to trivial matters and surroundings. These two contrasting characters in the film clearly indicate changes in gender roles and resolution in gender inequality in China leading to more opportunities and positions for women in society. Today the number of women in the workforce in China has increased to 38% compared to 7% back in 1949 taking positions as managers, CEOs, and leaders in all types of organizations (Yang 2016).
In addition to changes in gender roles, women’s empowerment in a family has given more authority to women promoting active participation regarding major family related issues that involves a decision. Confucianism used to play a major role in a familial relationship in the traditional China. It was absolutely mandatory for younger generations, especially women to respect male elders in a family and women did not have much authority in a decision making even if a decision is solely about female members’ life. However, females now have much more authority and voices as a decision maker. For example in the film, the daughter decides to leave for the US even if the father refuses to go with her and she believes a mutual affection and caring could be achieved with her father by hiring the maid for him through her finance. In addition, the Chinese used to believe a mutual affection and caring could be only achieved in a family by meeting two requirements: living together and involving in most of family matters. However, those requirements have changed recently through modernization and westernization. These two significant findings clearly prove women have considerable authority in a family and the recognition of a mutual affection and caring in a family has changed in modern society which may not be acceptable in past Confucian society in China.
All things considered, roots of female discrimination and inequality can be traced back to the Confucianism which is based on principal of superiority and inferiority. However, with change of political course situation in society as well as gender roles and treatment altered greatly. Women became closer to equality than ever before because evidences show that talking about total equality is too soon. Also, by comparing these two films one may see not only roots of women`s oppression but also may explore changes and modern situation with gender roles.
References
Attané, Isabelle. "Being A Woman In China Today: A Demography Of Gender". China p e r s p e c t i v e s 4 (2012): 5-15. Print.
Tu, Su-hao and Ying-hwa Chang. "Women’S And Men’S Gender Role Attitudes In Coastal China And Taiwan". East Asian Labor Markets Conference. 2000. Print.
