The Female Action Heroine in Hong Kong Films - Essay Example

?Discuss the female action heroine in 2-3 Hong Kong films. To what extent does she transgress conventional gender roles and to what extent does she simply conform to male fantasies? The conventional gender roles assigned to female and male in real life is interconnected with femininity (softness and private domain) and masculinity (hardness and public domain). But when this is superimposed to the context of films, one cannot expect femininity from women and masculinity from men. Most of the female action heroines in Hong Kong films show the tendency to transgress the conventional gender role. The influence of Chinese culture, especially transvestite/cross dressing and transsexual/ swordswomen genre is behind this influence of transgression of conventional gender roles. Besides, the unique socio-cultural and political setting of Honk Kong deeply influences the foretold difference in gender roles. Thesis statement: The female action heroine in Hong Kong films transgresses conventional gender roles and does not simply conform to male fantasies (Special references to the star Brigitte Lin in the Hong Kong films: Swordsman II, Ashes of Time, Bride with White Hair). Prominence of women actors in Hong Kong action cinema The prominence of women actors in Hong Kong action cinema challenges the conventional mode of masculine power vested upon male actors. Kar, Bren and Ho (2004, p.109) state that ‘Historians of early Chinese cinema often regard Hong Kong as a cultural “branch” of the more sophisticated Shanghai’. An alternative version of masculinity can be seen among women actors in Hong Kong action cinema. Pang and Wong (2005, p. 137) state that ‘The ideological implications of masculinity can be radically re-examined by not simply looking at men exclusively but also mapping and recognizing the culture of a certain female type’. Within this perspective, masculinity is not fully vested upon male. Instead, masculinity is expressed through the search for one’s identity, especially by the female heroine. 1. Transvestite/Cross-dressing in Chinese (Hong Kong) films Transvestite/Cross-dressing in Chinese (Hong Kong) films creates sexual ambiguity and transforms gender identity from hero to heroine and vice versa. One can easily identify that cross-dressing in Chinese Operas deeply influenced the same process in films, especially the Hong Kong films. Vojkovic (2009, p. 43) states that ‘Here, we also have to consider the fact that Kung fu comedy as a genre makes much less of an appeal to authenticity, reminding us also that Kung fu comedy draws its origins from Beijing Opera’. Besides, cross-dressing indirectly challenges male primacy and patriarchy in the Chinese society. Generally, cross-dressing helps the female heroine to hide her biological gender but the same will be exposed in front of the audience in the final unmasking scene. Garber (1997, p.45) makes clear that ‘Women who cross-dress must fall into two categories: the occasional, recreational cross-dresser who does not wish or try to pass and the transsexual’. Within the context of Chinese (Hong Kong) films, cross-dressing (assuming gender codes) lead to transvestism (transformation to opposite sex). In short, the Chinese (Hong Kong) films make use of cross-dressing as an innovative tool to challenge the hierarchy of power. 2. Transsexual/ Swordswomen in Chinese (Hong Kong) films The transsexual/ swordswomen in Chinese (Hong Kong) films are capable to demonstrate skill similar to their counterparts. But these transsexual/ swordswomen are not portrayed as independent warriors because they are attached to their male counterparts. Hunt (2003, pp.117-118) states that ‘But as Asian audiences and critics were well aware, women warriors are nothing new in Chinese storytelling and have a much longer history than their western counterparts’. The unique socio-cultural and political setting within China, especially in Hong Kong unveils the feminine side of transsexual/ swordswomen. For instance, womenfolk in Chinese society uphold traditional values. When men are unable to attain the same, women are assigned to grab the same by demonstrating their skills. Tasker (1993, p. 15) states that ‘The female fighter as centre of the action, whilst only emerging relatively recently in American film, has for some time been an important figure in Hong Kong action traditions’. The handing over of Hong Kong from British control to Chinese authorities in 1997 initiated the development of transsexual/ swordswomen to sexually/morally ambivalence, skill and violence. Lau ( 2003, p. 204) opines that ‘In Hong Kong, the traditional Chinese patriarchy was underwritten and supported by a paternalistic British imperialism which preferred a hands-off approach to governing the territory in order to foster burgeoning capitalist interests’. In short, the return of Hong Kong to its roots and China from capitalism to communist ideology, resulted in the transformation of Transsexual/ Swordswomen in Chinese (Hong Kong) films from marginalization to the limelight of film industry. Masculinity and gender identity in female action heroine 1. Brigitte Lin in the film Swordsman II (by Ching Siu-tung and Stanley Tong) Dongfang Babai (Brigitte Lin) is the leading character (hero/heroine) of the film Swordsman II. Chu (2004) states ‘Swordsman II is ultimately about Ling's extraordinary relationship with Fong’. Her attempt to take over the control of Sun Moon Holy cult and its consequences is one of the best examples of the representation of Masculinity and gender identity of female action heroine in Hong Kong films. Kim (2010, p.39) makes clear that ‘Brigitte Lin starred as an invincible martial artist who became more of a woman the more she trained in martial arts’. Her conspiracy with Woku and the following rebellion to gain ultimate domination over China can be seen as the feminine attempt to regain power over masculinity. But her physical appearance as a female does not help her to have mastery upon Sunflower Manual, the martial arts text. Meanwhile, Linghu Chong (Jet Li), the hero realizes the real identity of Dongfang and falls in love with her. Dongfang is not distracted by Linghu’s love because she utilizes this chance to kill Linghu’s men. Later, Linghu was imprisoned but manages to escape and Dongfang succumbs to death by falling off from a cliff. In this film, Dongfang (Brigitte Lin) makes use of her masculine identity to be supreme and to save her lover from death. But her gaining of ultimate power leads to the loss of feminine identity. Besides, her identity as a male distracts her from accomplishing her love towards Linghu. In short, the film Swordsman II portrays masculinity and gender identity of the female action heroine, Dongfang (Brigitte Lin). At the same time, the image of violent woman reveals the failure of Dongfang in her private domain (as an impotent lover) public domain (failure in maintaining political power). 2. Brigitte Lin in the film Ashes of Time (by Wong Kar-wai) The film Ashes of Time represents the selfish and cruel side of human life, where survival is the ultimate aim. The most important factor in the film is the dual role played by Brigitte Lin as Murong and his sister. Hampton (2007, p.46) opines that ‘The most striking and idiomatic representation of Hong Kong cinema, and just possibly the most uncanny presence in film today, Brigitte Lin is the late twentieth Century’s last, strangest movie goddess’. Brigitte Lin’s presence in the film adds a unique flavour of philosophical tone and the struggle for survival. Hoberman (2003, p.32) opines that ‘Ashes of Time is more extravagantly moody than it is violent’. The director is well aware of Brigitte Lin’s competence to do dual roles without betraying gender identity. The plot revolves around Ouyang Feng, a retired swordsman. But the underlying theme is related to the unsuccessful past (failure in love affair) of the characters like Ouyang Feng and his friend Huang Yaoshi. Brigitte Lin’s character unveils the film’s sub-plot, i.e. the conspiracy and hatred among Huang Yaoshi, Murong Yang and his sister Murong Yin. Huang Yaoshi’s friendship with Murong Yang leads to Huang’s wish to marry Murong Yin and the ultimate hatred between them. The plot thickens when Murong Yang goes to Ouyang Feng to hire him to kill Huang. On the other side, Murong Yin loves Huang and wishes to kill her brother and to save her lover. Brigitte Lin’s character is able to entrap Ouyang in a dilemmatic situation. For instance, Murong Yang and Murong Yin represent the dual personality of Brigitte Lin’s character. From a different angle of view, one can identify that Murong Yang and Murong Yin are symbolic of the unfulfilled love affairs of the main characters (Ouyang Feng and Huang Yaoshi). The dual identity of Brigitte Lin’s character in this film is capable to entrap male dominated swordsman genre in martial arts, which represents violence and bloodshed. 3. Brigitte Lin in the film Bride with White Hair (by Ronny Yu) Brigitte Lin’s role in the film Bride with White Hair is really amazing because her character ‘Lian Nichang’ represents almost all the masculine qualities and characteristics. Jancovich ( 2003, p.159) states that ‘In The Bride with White Hair (Ronny Yu, Hong Kong 1993), neither of the two leads, Brigitte Lin and Leslie Cheung, is a martial artist, but one would never guess from their action scenes’. As pointed out earlier, masculinity cannot be solely assigned to any specific gender because it is a set of qualities and characteristics applicable to men or women. In this film, Lian Nichang is an orphan, later adopted by the martial arts master Ji Wushuang. Her love affair with Zhuo Yihang, a swordsman (Wudang Cult) transformed her life from obedience to adventure. For instance, Lian Nichang decided to give up her life with the members of Jianghu community and to go with her lover. Her decision to give up her life with the members of Jianghu community resulted in a number of painful incidents. In this situation, Lian Nichang shows masculine strength by facing those painful incidents with courage. When Zhuo’s men were murdered, he suspects Lian Nichang’s role in the same. Lian Nichang did not try to prove her innocence but transformed herself to a white haired killer and butchered all the members of the coalition group. The final revelation done by Ji Wushuang unveils the secret behind the murders. But Lian Nichang was not ready to forgive Zhuo on his mistrust. She gave up her community life for the sake of love and rejected her lover. This proves that Lian Nichang believes in independence and she is not ready to surrender her individuality for futile love. In short, Brigitte Lin’s characters in the films Swordsman II, Ashes of Time, Bride with White Hair prove that masculinity is inherent in dual gender identity in female action heroine, especially in Chinese (Hong Kong) films. Findings The main findings are pointed out below. 1. In Chinese (Hong Kong) film scenario, transvestite/cross-dressing is an important aspect which challenges the hierarchy of power in a male dominated/oriented society. 2. Transsexual/ Swordswomen in Chinese (Hong Kong) films represent the female resurrection from marginalization to the mainstream society or one’s urge to return to the motherland. 3. In the film Swordsman II, Brigitte Lin represents the masculine power and gender identity of the female action heroine. 4. In the film Ashes of Time, Brigitte Lin’s character with dual identity represents the female heroine who is ever ready to challenge the male dominated swordsman genre in martial arts. 5. In the film Bride with White Hair, Brigitte Lin’s character represents the inner urge of female heroine not to surrender her individuality and to be independent. Summing, female action heroine in Chinese (Hong Kong) films represent the feminine energy which is capable to challenge male domination and stereotyping. The conventional gender roles limit femininity to be confined to the private domain. But female action heroine in Chinese (Hong Kong) films transgress conventional gender roles because transvestism/cross-dressing and Transsexual/ Swordswomen genre is inherent in the Chinese (Hong Kong) cultural context. Masculinity and dual gender identity put forth by Brigitte Lin, the female action heroine is the best example for the prominence of women actors in Hong Kong action cinema. In short, female action heroine in Chinese (Hong Kong) films transgress conventional gender roles and does not simply conform to male fantasies. References Chu, R., 2004. Swordsman II and The East is Red. The “Hong Kong Film,” Entertainment and Gender, [Online]. 13, Available at: Bright Lights Film Journal http://www.brightlightsfilm.com/31/hk_swordsman1.php [Accessed 11 January 2011]. Garber, M., 1997. Vested Interests: Cross-Dressing and Cultural Anxiety. New York, NY: Routledge. Hunt, L., 2003. Kung fu cult masters. London: Wallflower Press. Hoberman, H., 2003. The magic hour: film at fin de siecle. N.P.: Temple University Press. Hampton, H., 2007. Born in flames: termite dreams, dialectical fairy tales, and pop apocalypses. USA: Harvard University Press. Jancovich, M., 2003. Defining cult movies: the cultural politics of oppositional taste. Manchester: Manchester University Press. Kim, Y.H., 2010. Your Republic Is Calling You. New York: Houghton Mifflin Harcourt. Kar, L., Bren, F., & Ho, S., Hong Kong cinema: a cross-cultural view. Maryland: Scarecrow Press. Lau, J.K.W., 2003. Multiple modernities: cinemas and popular media in transcultural East Asia. Philadelphia: Temple University Press. Pang, L. & Wong, D., 2005. Masculinities and Hong Kong cinema. Aberdeen: Kent State University Press. Tasker, Y., 1993. Spectacular bodies: gender, genre, and the action cinema. New York, NY: Routledge. Vojkovic, S., 2009. Yuen Woo Ping's Wing Chun. Aberdeen: Hong Kong University Press. Read More