How the East Sees the West - Movie Review Example

How the East Sees the West (INSERT YOUR NAME HERE) (INSERT NAME OF YOUR UNIVERSITY HERE) How the East Sees the West `Introduction The late 1970s and 80s saw the rising of Western opposition among the film makers in China and Hong Kong after overseas training in the art of film making. These included but not limited to The Opium War II by Xie Jin, Once Upon a Time in China Part II Tsui Hark, Merry Christmas Mr. Lawrence by Oshima. Other notable names that represented Hong Kong new wave include Wong Kar-Wai, John Woo, Ann Hui and Tsui Hark among others. Tsui Hark specifically, is credited for introducing an increasing nostalgia for the Hong Kong past, cultural identity and history. It is also worth mentioning that these movies were also concerned about Chinese martial arts just like their predecessors such as Hapkido (Huang Feng, 1972, Hong Kong) and Fist of Fury (Lo Wei, 1972, Hong Kong). What can be summarised of these movies is there black and white approach. That is, an outright rejection of invader or outsider’s influence on the cultural representation of Hong Kong. This is a clear situation where East meets West but with a struggle for East to accept Western cultural representations. This essay therefore seeks to critically analyse The Opium War II, Once Upon a Time in China Part II and Merry Christmas Mr. Lawrence with a view of understanding how the East sees the West. Beginning with Once Upon a Time in China Part II, the exposition of the film is a clear indication on how Chinese culture is getting threatened and how the Kung Fu tradition is juxtaposed to the gun by opening with a Lion dance sequence. Giving preliminary information, the ceremony shown in the movie is rooted in the traditions of Kung Fu with the intention of warding off evil spirits of Westerners. Ironically, when the crackers go off, American Navy believes they are getting fired at. This is the beginning of the movie. What this reflects is the hostility between china and foreign influence; as clearly when lion head is shot at, Chinese feel their culture is threatened. The introduction of Kung Fu and guns is essential in introducing a theme of East versus West. In fact, later in the movie, Iron Robe Yim affirms this theme by asserting that fists are no match to guns. In this particular case, the perception is that technology has brought changes that are not only threat to the Chinese way of life but something that will make old cultural practices in China irrelevant. Following the Lion dance, the general gives a speech regarding the state of China and how foreign invasion has not only divided the country but also the government. Specifically, he cites that British have enslaved Hong Kong by making her its colony. At this particular instance, Chi (2003) argues that Hark conveys a sense of divided China and the only way to redeem its glory is by uniting against the invasion and introduction of foreign culture. Yet again, what Hark portrays through character of general is that the nation as a whole will become stronger once the power of British goes. This is compounded by the English title, “Under The General’s Orders.” This is not just a song but calling for people to be prepared for the betterment of their country. The implication of linking these words is the resolution what Wong says at the end of the film. Wong says, “Maybe we are standing on gold” so the question the movie tries to portray is that Westerners are not as good as people think and if this is not it why occupy China if they had the much gold as they claim? When the movie comes to the streets of Fushan, there are foreign troops walking along a Christian priest. This scene gives another perception the East have on the West. To begin with, there is Chinese musician playing instruments loudly and the intention is to kill the sound of religious chanting which has been seen as a threat to their culture. Luckily, things settle but also come loud sound of hooting train. Just like it has been symbolised in Western genre, train can best be seen as a symbol of industrialisation and change in technology. This within the context of this movie can be seen as overwhelming to the Eastern culture (musicians). Through the train Hayford (2003) argues that introduction of technology was something that was exclusively not welcome by the Eastern cultures. The priest also plays significant part in the play. The movie uses him to represent how the West did not only bring technology with them but new schools of thought which contradicts viewpoints of the East. Conclusively, religion is not hated by Chinese culture in as much as introduction of a gun does. This point can be affirmed when priest is willing to give helping hand to Wong Fie Hung as a witness. What this implicates is that not everything introduced by West to East is evil. In fact, it gives readers shades of grey light to stop the portrayals of juxtaposed cultures that’s white and black. The anxieties of the hand over are to some extent, discussed here. Because it is evident that even though introduction of Western cultures may erode the Eastern’s, not all elements introduced will be wrong. Wong Fei-Hung is a character fighting to preserve tradition but at some instances he appreciates that China needs some change in order to make progress. For instance, in his clinic, he contemplates this and shoots a bullet by just flicking his fingers and the ornaments breaks in the process. This compliments points where Iron Robe Yim asks Lan Foon: “what is the point of being a kung fu master when you can’t earn a living.” This elaborates how the introduction of gun is evil and has been eroding old culture of Chinese. The victim here is the Iron Robe Yim who is out of place just like Wong Fie-Hung, but unlike him he remains lost. In a similar fashion, there is also another scene with flicking bullet. This explores the likelihood of progress where Kung Fu can be integrated with the introduced culture. To summarise this argument, while Wong feels the need of ensuring the culture of his people is not eroded by Western invasion, Iron Robe Yim on the other hand can be seen as a character who is encapsulating all the problematic elements of those who cannot accept nor adapt to change. Another viewpoint of the West is seen during the final climatic shootout. Here, Wong has no option but to pick a rifle but unable to wield the weapon effectively and even has no idea how to reload the gun. And as he had done earlier; flicks the weapon with his fingers to make a shot. In this case, Wong manages to resolve what seems to be a conflict. The conflict is the technology introduced and the Kung Fu which is under threat through the introduction of the gun. Basically, Wong tries to show that ideas from West is not as superior as it is thought and what the technology can do Kung Fu can do it even better. Furthermore, the issue of bullet is resolved by Wong as he manages a Kung Fu style to fire the gun. In short, Wong illustrates how the principle of Kung Fu is applicable to technology and in turn progress for the country. Towards the end, the actions represented in the move contradict the first view held by Easterners. That is, there is manifestation that technology is a factor for the country to progress and those who reject the Westernised ideas (Iron Robe Yim) will be eliminated with time. To illustrate this claim, Wong is finally seen in Westernised suit during a traditional Chinese tea offering ceremony where there is young man offering Wong tea so has he can be accepted as a student. Later on, there is a procession that goes to take a picture from a camera. This is a big contrast compared to the notion that earlier existed regarding technology and Western ideas. Actually, the very same camera from West that had earlier been rejected by Fie-Hung as erosion to Eastern culture is now used. In Once Upon A Time In China 2, many followers are misled by Wong that Western culture through guns and bullets are not needed but these belief is not practiced to the end by him. Their prejudice and xenophobia against all things West bring is shown as harmful not only to the innocent but also themselves. The reason for my belief that this movie is a self reflective of itself is because there are series that engages with the past so as to empower the present but again exposes the way empowerment can be misinterpreted and misused into hate and bigotry. How does these view compare or contrast with The Opium War II? To begin with, it is important to mention that through The Opium War II cultures that impact on social consciousness are air lifted to other parts of the continent. Just like Once Upon a Time in China Part II, The Opium War II presents to the world the notion that Hong Kong audiences have woken up and the idea is the fact that their future could be bright great prosperity if they eliminate Western influence. The Opium War II also presents inherent criticism for Western culture forced among Chinese community. Furthermore, as the movie develops Xie Jin presents an idea and that is, the Chinese government sees foreigners as white-ghost who has used Opium as a crowbar to knockdown the Chinese people if not to snatch Hong Kong. Jin’s cinematic portrayal of the completely rotten feeling of West/East relations leaves viewers with deep scars. In fact, it compares with Once Upon a Time in China Part II where Chinese prejudice and xenophobia against all materials introduced is clearly seen when there is burning of various objects from West. Similarly, rejection of Opium by many compares to the guns and bullets in Once Upon a Time in China Part II. The difference between the two movies in terms of rejection of foreign items is that one is communally orgainsed (Once Upon a Time in China Part II) while another is a complete rejection from the government (The Opium War II). In as much, there are some instances in both movies where the rejection of culture from West is given attention and viewed as a step towards positive change. In Once Upon a Time in China Part II this is manifested when Wong is finally seen in Westernised suit during a traditional Chinese tea offering ceremony where there is young man offering Wong. On the other hand, The Opium War II represents this when Chinese government begins to feel that they are justified to use Opium which was initially rejected. However, this part is quickly shattered by the same government who now feels they need to use Opium war as leverage against the Western powers. Karl (2001) explains that in as much as the government never liked the excuse foreigners gave for wanting to give opium in exchange for Chinese tea, the war served as propaganda so that Chinese can be united to fight British. This is what Hark portrays through character of general when the nation as a whole becomes stronger once the power of British goes. This is compounded by the English title “Under The General’s Orders.” However, unlike Once Upon a Time in China Part II where the war was kind of initiated by the foreigners, Xie Jin presents a movie where Western imperialists started the war. Xiao (2000) is opined that The Opium War II indicates strong hatred expressed to British people who are seen as protagonists of Opium addition in China and make use of Chinese efforts to kill the British Opium trade as a pretext for war, allowing Her Majesty's Government to extract reparations. This hatred is even deeper when foreigners ripped the gem of Hong Kong and its deep, natural harbour from the bosom of people of China motherland. This particular scene compares with Once Upon a Time in China Part II when Iron Robe Yim asks Lan Foon “what is the point of being a Kung Fu master when you can’t earn a living.” Just like the introduction of Opium has messed the culture and beliefs of the indigenous China, so was introduction of guns and bullets which is not only considered as evil but erosion to old culture of Chinese. Zhao (1999) argues that introduction of Opium has been complete destruction to Chinese culture and such extends to JackieChan's Drunken Master II. At this point, Mr. Xie is placed in the vanguard of artists in China who are willing to stoke the flames of nationalism in the services of the communist protagonists or party as the country (China) reassembles the territories which has been lost in the last decades and goes, not so gently, into the new era will follow the departure of Deng Xiaoping. Clearly, Western culture is not welcome in China. The fact that there was high demand of Chinese tea in the west did not make China wanting to interact with the West since many of the Western trade goods were not needed in China at the time Mr. Xie was directing this movie. How does the two compare and contrast with Merry Christmas Mr. Lawrence? Clearly, in so many of films directed by Nagisa Oshima Merry Christmas Mr. Lawrence has explored in depth various political and social structures of established Japanese values. Based on its presentation and themes Merry Christmas Mr. Lawrence is completely different from The Opium War II and Once Upon a Time in China Part II in the sense that no foreign invasion and or importation of foreign products (no guns, bullets and opium) in a country. However, Nagisa Oshima has not only put Japanese values under test but contrasted them with Western values in a setting where the two cultures are at odds. Unlike the two movies, Merry Christmas Mr. Lawrence has fashioned this sociological psychodrama of East versus West by dealing with a story (victims of Second World War) of such complexity psychosexual depth that contemporary cinemas would not have allowed its exploration. To begin with, the clash in cultures is how the West views differently what is so normal in East and the other way round is also true. With the homoeroticism implicit involving the two soldiers, both of whom have been struggling with their conflicting cultures between guilt (something that Celliers feels revealed in a couple of lengthy flashbacks); there is a way this is viewed differently. To understand this, the film begins with Lawrence summoned to witness the punishment of the two men. Actually, one is Korean and the other is Dutch. This is where comparison of the two cultures come in. the Korean (representing the East) snuck into the cell of the Dutch and had sex with him. To this point, Japanese have no problem with this act and wonder why this should be seen as a serious offence by West. The next move is the infuriated Japanese sergeant attempting to humiliate the Korean soldier in fact offering him a chance to commit ritual suicide---something which is known as seppuku in East (Yingjie, 2004). Though Lawrence tries to stop this, the Korean stops the seppuku anyway. Unlike The Opium War II and Once Upon a Time in China Part II what are experienced here are two conflicting cultures where the East wonders about cultural doctrines from the West and the West too amazed by certain beliefs from East. To concretise this assertion, Corliss (1984) explains that this is a movie of two rock stars; Ryuichi Sakamoto and David Bowie carrying the central dramatic weight of the film. The trip where people including Ryuichi Sakamoto travels to attend the trial of Colonel Celliers brings another conflicting view between the East and the West. Colonel had been performing guerilla actions until his surrender to the Japanese after threats that innocent villagers would be killed. The Japanese soldiers at the trial are just seeing another different culture representation from West where it amazes them to see that Colonel Celliers had to surrender and be put to death. In fact, Nagisa Oshima presents Captain Yonoi clearly taken with the defiant British man. A mock execution is staged and Celliers is taken to the POW camp instead. This scene do not compare in any way with the other two movies since there are representations of themes that show cultural misgivings. While Japanese soldiers find the surrender cowardly and choosing death is preferable in their culture, British on the other hand view seppuku as barbaric, and look at surrender as a way to stay alive and survive. This brings back the aspects of culture representations in The Opium War II and Once Upon a Time in China Part II. According to Corliss (2001) the three movies offers feeling of cultural superiority in the sense that Kung Fu overrides the use of guns and bullets, introduction of Opium seen as erosion to cultural practices and preference for seppuku instead of surrendering. Also considered in the movie is the examination of homosexuality in the Japanese camp (Turim, 1998). With no doubt, the first scene presents an example of male to male sex. In fact, Lawrence explains to Hara how there can be strong bond between men who are fighting common enemies. This is contrasted with Yonoi’s obsession with Celliers which never achieves a physical level but seems obviously homoerotic at times.  Conclusion If there is something the three movies try to capture is the Hong Kong audience. Not to present the idea that their future could still be bright without Western invasion but also to make the same audience believe that there are some issues that they themselves have solutions to. The movies present inherent criticism of West by East and East by West but at the same time optimism for unity. And an ideal that the audience must come to terms with their past and present in order to move forward into the future. For the only answer to change is adaptation. References Chi, R. (2003). ‘The Red Detachment of Women: Resenting, Regendering, Remembering’. In Chris Berry (ed.), Chinese Films in Focus: 25 New Takes. London: BFI, 152–9. Corliss, R. (1984). "Cinema: Stout Hearts," TIME Magazine. 12 Sept. 1984. Ebert, R. (2001). "Merry Christmas, Mr. Lawrence," The Chicago Sun-Times. 16 Sept. 2001. Hayford, C. (2003). ‘Hibiscus Town: Revolution, Love, and Bean Curd’. In Chris Berry (ed.), Chinese Films in Focus: 25 New Takes. London: BFI, 120–7. Karl, R. (2001). The Burdens of History: Lin Zexu (1959) and The Opium War (1997)’. In Zhang Xudong (ed.), Whither China? Intellectual Politics in Contemporary China. Durham: Duke University Press, 229–62. Turim, M. (1998). The Films of Nagisa Oshima: Images of a Japanese Iconoclast. Los Angeles: University of California Press. Yingjie, G. (2004). Cultural Nationalism in Contemporary China: The Search for National Identity under Reform. London: RoutledgeCurzon. Xiao, (2000). The Opium War in the Movies: History, Politics, and Propaganda’. Asian Cinema 11.1 (Spring): 68–83. Zhao, D. (1999) “An Angle on Nationalism in China Today: Attitudes among Beijing Students after Belgrade 1999.” The China Quarterly 172 (2002): pp. 885-905. Read More