At the beginning of the twentieth century China experienced many changes in nearly every respect. The country transformed into a modern state and in doing so traditions changed as well. For example China changed its form of government by abolishing its empire and establishing a republic. The old imperial regime was seen as very old-fashioned: „un monde que la technique et les idées modernes n‘ont pas encore touché“ (Bauchau, 1982, p. 19; translation: a world which has not yet been touched by the modern technic and ideas). If China wanted to be part of the modern westernised world, it had to modernise itself. But even though the last emperor abdicated in 1912, many traditions still lived in the Republic of China, some until the 1940s (cf. Brugger, 1977, p. 20). This can be seen in the Chinese film „Raise the Red Lantern“. This movie which original title is „Dà hóng denglóng gaogaou gua“ was made by the fifth generation director Zhang Yimou, and was published in 1991. The film set in the 1920s is about the young woman Songlian who actually has studied at university for one year. When her father dies, she cannot afford going to university any longer. Her stepmother marries her off to a rich man, Chen Zuoqian, in whose household traditions are most important. Songlian becomes the fourth concubine of this man. Every evening red lanterns are being hung up in the quarter of that wife who Chen Zuoqian is going to spend the night with. This also means that the respective wife seems to be the favourite one so that she gets more power over the whole family, e.g. she can decide about the dishes. Thus the four women, who see each other as rivals, fight each other whenever they can. Songlian tries to struggle hard for a place in the family, but she somehow fails. In the end she causes the death of two people, of her servant Yan‘er and of the third concubine Meishan, so that she finally gets insane.
In this film one can watch the traditional Chinese gender relationships. These are analysed more closely in this essay.
Table of Contents
1. Introduction
2. The Influence of Confucianism on Social Structures
3. Gender Roles and the Concubinage System
4. Historical Transformation and the Realism of the Film
5. Conclusion
Research Objectives and Themes
The primary objective of this paper is to examine the representation of traditional Chinese gender relationships within the film "Raise the Red Lantern" and evaluate how these portrayals align with or deviate from the socio-political realities of China during the 1920s.
- The hierarchical structure of traditional Chinese family life.
- The impact of Confucian ideology on gender-specific social status.
- The legal and social implications of the concubinage system.
- The historical transition from tradition to modernity in early 20th-century China.
- The discrepancies between cinematic depictions and the historical evolution of women's roles.
Excerpt from the Book
The gender relationships in the film Raise the Red Lantern in the context of the Chinese politics, culture and society of that historical period
In this film one can watch the traditional Chinese gender relationships. In the first place the whole power lies in the hand of the man. The head of the household decides everything, when he is not at home his oldest son is getting the whole control, and after him the first wife, who is the only real wife of the man by law, succeeds. Besides, only men were part of the public life in the traditional China, whereas women only played a role in private life. This is shown in the film as the whole movie is set in the huge family estate. But the women never leave it, even though the husband asks Songlian once if she wants to go to the town with him. It also becomes clear that men and boys always had a much higher position in society than women and girls because the family life also often revolves around offspring. The most important goal of the four wives is to get a baby boy. This is why the second wife Zhuoyun, who got a baby girl, hates Meishan, who got a baby boy at the same time, so much. Another important point is that originally only men had access to education. In the movie Songlian is the only wife who is educated.
The traditional China was very much influenced by the ideas of Confucianism. A main emphasis here lies on the hierarchical structure of the social system. People always have to be loyal to superior people. There are five bonds which frame Confucian behaviour, namely father-son, elder brother-younger brother, husband-wife, ruler-minister and friend-friend. Except for the last bond, all the relationships are hierarchical. This implies that the inferior always has to obey the superior. Other main features of Confucianism are a „considerable respect for age (scarcity of old men), gerontocratic organisation of society; essentially patriarchal form of organisation which gave women inferior status“ (Brugger, 1977, p. 21).
Summary of Chapters
1. Introduction: This chapter introduces the historical background of the 1920s in China and the film "Raise the Red Lantern" by Zhang Yimou.
2. The Influence of Confucianism on Social Structures: This section explores how Confucian hierarchical bonds and patriarchal values defined social status and family organization.
3. Gender Roles and the Concubinage System: This part details the legal and social constraints placed on women, specifically focusing on polygamy, concubinage, and the expectation of bearing sons.
4. Historical Transformation and the Realism of the Film: This chapter contrasts the film's depiction of a closed, traditional household with the actual historical changes occurring in the 1920s, such as the New Culture Movement and educational reforms.
5. Conclusion: The concluding section summarizes the film's effectiveness in portraying traditional gender dynamics while noting its omission of broader historical progress.
Keywords
Raise the Red Lantern, China, Gender Relationships, Confucianism, Concubinage, Patriarchal Society, 1920s, Zhang Yimou, Tradition, Modernization, Family Structure, Women's Rights, Education, May Fourth Movement, Social Hierarchy.
Frequently Asked Questions
What is the primary focus of this academic paper?
The paper analyzes the depiction of traditional Chinese gender roles within the film "Raise the Red Lantern" and assesses these depictions against the actual socio-political climate of the 1920s.
Which specific film serves as the primary subject of study?
The paper examines the 1991 film "Raise the Red Lantern" (Dà hóng denglóng gaogaou gua) directed by Zhang Yimou.
What is the central research question?
The research explores how the film represents gender dynamics within the context of the Confucian-influenced society of the period and whether these representations accurately reflect the historical reality of China in the 1920s.
Which theoretical framework is applied to analyze the social structure?
The paper utilizes Confucian ideology—specifically the concepts of hierarchical bonds and patriarchal organization—to explain the power dynamics observed in the film.
What is the main topic covered in the middle chapters?
The middle chapters cover the specific gender-based limitations of the era, including the system of concubinage, the patrilineal focus on male heirs, and the exclusion of women from public life.
Which key terms are central to this discussion?
Key terms include concubinage, patriarchy, Confucianism, patrilineal, patrilocal, and the transition from traditional to modern China.
How does the author characterize the role of Songlian in the movie?
Songlian is identified as the only educated wife among the four, which the author uses to highlight the beginning of societal changes in education for women during that era.
Does the author consider the film to be historically accurate?
The author argues that while the film provides a detailed view of domestic gender relationships, it is somewhat unrealistic because it ignores the significant historical and democratic movements happening in China at the time.
- Quote paper
- Jana Groh (Author), 2006, The gender relationships in the film 'Raise the Red Lantern' in the context of the Chinese politics, culture and society of that historical period, Munich, GRIN Verlag, https://www.grin.com/document/80831
