Chinese Cinema: Ju Dou - Movie Review Example

Ju Dou (1989) Name: Course: Institution: Date: Ju Dou (1989) Introduction Ju Dou is a Chinese film directed by Zhang Yimou in 1989. The film is set in the 1920s in rural china and aims at depicting the lives of traditional Chinese community in the early 20th century.1 The film begins with a young woman, Ju Dou, who is on her way to her new home to meet her new husband said to have purchased her.2 There are different aspects concerning the traditional Chinese society that are depicted in this film. These include gender roles, oppression in the society and different aspects of the sexuality. The main objective of this paper is to assess the variations that the movie Ju Dou employs in reflecting the traditional Chinese community. Oppression in traditional Chinese community Oppression in the film Ju Dou is depicted in terms of the relationship between members of the society and societal expectations from its members. In terms of the relationship between different members of the society, oppression arises from the cruel means by which women in this society are treated by their male spouses.3 At the beginning of the film, the protagonist Ju Dou is on her way to her new home where she is to meet her new husband, Jinshan. This is an indication that women were viewed as less valuable items in the traditional society. The ability of Jinshan to purchase his wife from her parents is an indication that women in this society were treated as commodities. In one of the arguments between Jinshan and his wife Ju Dou, the level of oppression that the male population inflicts on women is portrayed.4 Jinshan tells Ju Dou that when he buys an animal he treats the animal as he wishes and that his wife was no better than an animal. This is an indication of the extent to which the traditional Chinese community would reveal the position of the female gender in the community.5 Oppression does not only involve the female population but also the male population. Yang Tianqing, who is perceived as a casualty of traditional practices, is unbaled to go against the dictates of his cruel and sadistic uncle, Jinshan. This is because of the belief that it is not in his place to disobey his uncle.6 When this is perceived in relation to the traditional Chinese culture, it was a cultural norm to respect the elders in the society. This form of respect however was exploited by the elderly such as Jinshan. Tianqing, a nephew to Jinshan was concerned of the levels of ill treatments that his uncle had been inflicting on his wife. However, the decision by Tianqing to refrain from arguing with his uncle on matters concerning the safety and happiness of his wife was an indication that he was ready to suffer the agony of watching his aunt suffer rather than break away from cultural requirements.7 Despite his position as the antagonist of the film, Yang Jinshan is also depicted as a victim of himself. The patriarchal structure of the traditional Chinese community was the leading cause of the unrelenting cruelty. Jinshan had been desperate for a male heir. This is because it was the only way through which he could ensure the continuity of the name of the Yang family in generations to come. Jinshan felt oppressed by the demands of the society. In addition, his decision to marry Ju Dou was aimed at increasing the possibility that he would sire a male child.8 Questions have been raised concerning the relevance of this film in the promotion of the understanding of traditional Chinese cultural practices and the place of human rights. One way through which this film has been found to influence the world is by depicting different forms of abuse and oppression in the society. This is in relation to the contribution of the wellbeing of the society and its members.9 The development of an understanding concerning its relevance can be used in providing procedures through which matters of human rights and equality of gender can be addressed.10 In addition, through its theme of oppression, the movie also has been able to provide the Chinese community and non-Asian communities with an insight of the negative effects of oppression on any developmental initiatives in the society. In addition, it also provides an understanding of the role of culture in limiting the possibility of progression in the society.11 Traditional and cultural orientations play and essential role in stabilizing the status quo in different sectors. In addition the oppressive nature of culture brings with it complication in the lives of different characters. For instance, in the case of Ju Dou, she does not have the capacity to remarry despite the death of her husband. She is compelled to remain in her home and take care of the children. Ju Dou’s infidelity leads his son into committing a tragic crime that terminates the life of Tianqing. This is due to the desire to maintain his reputation the society as man and an heir to Jinshan.12 Gender roles Any society is often characterized by the presence of male and female gender whose roles are defined by their cultures and the socialization process. From a historical perspective, the Chinese community was patriarchal. This means that the male population was the most dominant in terms of seeking leadership and decision making positions in the community.13 The movie Ju Dou outlines the existence of the patriarchal community and the division of women roles in three stages throughout their lifetime.14 Their subordination begins to their fathers during their youthful years, to their husbands during her marriage years and to their sons in their years as senior members of the society.15 The rationale of this approach to the place of women in the society is explained through the assumption that the roles of women and girls revolve around matters related to the house. Women in the traditional Chinese society did not have a role to play on matters outside their vicinity.16 This societal structure can therefore be used as some form of justification to the segregated Chinese society on matters related to gender roles.17 From the film it is possible to note that Ju Dou is fully committed to her domestic chores and this denies her the opportunity of exploring her areas of strength as a person.18 Women according to the film are subordinates to their husbands and they are to respond to questions related to domestic affairs. This explains why failure to responds to any of the question leads to her beating. In addition, the female members of the society also had the responsibility of bearing children to their husbands. This means that they were used as vessels of child delivery. Failure to deliver as expected by the husband could lead to violence against women.19 Jinshan always wanted his wives to bear a male hair for his business and generational continuity. However, failure of the first three wives to deliver a male child led to Jinshan into marrying more wives. These wives were subjected to different form of violence such as battering whenever they failed to deliver as expected. The societal norms were therefore definitive of the gender roles in the community.20 From the film it is possible to note that the concept of gender roles was strictly embedded as the foundation of stratification not only on personalities but also on cultural norms. Through gender roles, it was easier for the Chinese community to differentiate opportunities and constraints based on sex categorization. Failure to fulfil gender roles especially for the inferior gender was expected to face the abusive and violent consequences.21 The violent nature of Jinshan against his wives was consistent with his gender role. This is because by reproducing an heir, Jinshan could demonstrate to the rest of the community that he was strong and masculine. These were elements that were valuable to the Chinese and were also reasons why there was need for such an heir. The essence of gender roles is depicted in its purpose in defining different elements of culture. This is an indication that limited cultural aspects evade the including of gender roles and expectations form their definitions. Cultural norms in the traditional Chinese community were used in defining acceptable practices in relation to the gender.22 The need to secure lineage is the role of the male members of the society. This explains why Jinshan bought women as his wives. The element of love was not used as an element of defining marriage. This is because the decision on which women to love was dependent on the ability of the said woman to bear male children to his husband. Such a woman was not only respected but also treasured as the mother of a lineage.23 Marriage in the Chinese culture was therefore a platform through which men could ensure the total subordination of the female population. Most marriages in traditional Chinese society were organized by parents. This was because of the need to establishing a lasting friendship and relationship between families of the need to settle a debt owed by the father to the girl.24 The element of sexuality in the chine film, Ju Dou The element of sexuality is one of the most rampant themes in the movie Ju Dou. This is due to different instances of sexual intercourse of the desire to engage in sexual promiscuity among different characters. The element of sexuality in the film is perceives as one of the tools that women in traditional Chinese community used in challenging the patriarchal structure of the community which was founded on the power of men over all the other members of the community. The relationship between Tianqing and Ju Dou was one way through which the latter tried to overthrow male domination in the Chinese community. Her first approach was by seducing Tianqing.25 This was based on the realization that Tianqing was not only younger but also gullible and easily to manipulate. In addition, this was also a means through which she could eventually dispose the old husband, Jinshan and become the main decision-maker in her house. Unlike the societal expectation of man, Tianqing is depicted as weak in the presence of a woman.26 This makes him vulnerable to the sexual advances of Ju Dou. In addition, through these advances, it became easier for Ju Dou to introduce Tianqing to the element of love which was perceived as foreign to men in traditional Chinese society. Sexuality from this perspective is therefore a tool that is used to alter cultural perception of the scout as in the case of Tianqing.27 Other than the use of sexuality as a tool for promoting cultural change, it is also used as a tool of promoting high standards of immorality in the traditional Chinese community. Sexual promiscuity is depicted between Tianqing and Ju Dou28. Promiscuity emanates from the understanding that the Ju Do is the aunt to Tianqing and therefore it is against cultural norm and societal expectations for the two to be engaged in any form of sexual relationship.29 Traditional Chinese culture from this perspective can be viewed as a tool for ensuring that members of the society adhere to the expected moral standards to minimize the possibility of incest within the community.30 The fear of societal extermination can be used in explaining the desire by the two to keep their relationship a secret. The consequences of sexual promiscuity are also depicted in the film. The relationship between Ju Dou and Tianqing resulted in the birth of Tianbai. Every member of the community believed that Tianbai was a son and the only heir to Jinshan. This meant that from the cultural perspective Tianbai and Tianqing were brothers.31 However, from the real perspective, the latter were the father to the former. Ju Dou and Tianqing were compelled to a life of secrecy even after the death of Jinshan.32 The fear of ostracization was therefore a major contributor to their silence. Gossips in the Chinese community were detrimental especially whenever they involved sexual promiscuity. Individual members of the society often act in accordance with the norms to minimize the possibility of being gossiped about.33 It is possible to argue that Zhang Yimou film Ju Dou depict s sexual immortality and extramarital affairs as acceptable elements in the society. This is in relation to the perspective the director provides in relation to the attributes of the individuals involved in the extramarital affair. Ju Dou for instance is depicted as a woman who has been subjected to marital violence by a husband whose desires is for his wife to deliver a male child. Failure to deliver leads to a continuously violent and abusive marriage.34 Ju Dou struggles to escape from this life and seek an alternative and better live. Tianqing, a nephew to Jinshan, is depicted as a loveable man who is willing to do the right thing. The two plan on how to eliminate Jinshan. It is possible for the audience to empathize with Ju Dou and ascertain the need to seek an alternative marriage. The sympathy is extended to the genuine and loving human interactions that characterize the relationship between Ju Dou and Tianqing.35 The rationalization of sexual promiscuity and extramarital affairs is also depicted in the compassion and passion with which Tianqing and Ju Dou related. This form of interaction is perceived to be deviating from the conventional Communistic approach to moral values that had characterized the Chinese society. In the traditional Chinese community, moral virtues were perceived in their abstract and heroic forms. 36 When understood from the abstract nature of traditional societal norms it is possible perceive the film as proving a more humanistic and rational approach to the development of societal values.37 This explains why the protagonist in the film Ju Dou is a simple, straightforward individual who has the ability to engage in personalized and heart-felt compassion. This was an indication that the traditional Chinese community was in need of a relatively liberal and open system that could allow for mutual interaction and easy engagement in societal matters.38 Conclusion Set in the 1920s rural Chinese community, Ju Dou depicts a society that is grounded on cultural tenets which necessitate oppression of different individuals on the basis of their gender roles. In addition, different aspects of sexuality are also used in communication the theme of the film. Through gender based violence, societal expectation and the need to respect societal norms culture is perceived as a factor that limits the possibility of progression in the society. Gender roles were strictly embedded as the foundation of stratification not only on personalities but also on cultural norms. Through gender roles, it was easier for the Chinese community to differentiate opportunities and constraints based on sex categorization. Sexual promiscuity and extramarital affairs are perceived as deviating from the conventional Communistic approach to moral values that had characterized the Chinese society. Bibliography Benson, Linda. China Since 1949 2d ed. Harlow, England: Pearson Educated Limited, 2011. Berry, Chris, and Mary Ann Farquhar. China on Screen: Cinema and Nation. New York Chichester, West Sussex: Columbia University Press, 2006. Berry, Chris. Chinese Films in Focus – London: BFI Pub, 2003 Berry Chris. Chinese Films in Focus II – New York: Palgrave Macmillan, 2008. Cui, Shuqin. Women Through the Lens : Gender and Nation in a Century of Chinese Cinema. Honolulu: University of Hawaiʻi Press, 2003 Gateward, Frances, ed. Zhang Yimou: Interviews. Jackson, MI: University Press of Mississippi, 2001. Ju Dou. Directed by Zhang Yimou. 1989. New York: Miramax Films, 1991. Youtube. http://youtu.be/p4IaNzofg0w Pang, Laikwan. Building a New China in Cinema: The Chinese Left-Wing Cinema Movement 1932-1937 – Lanham, MD: Rowman and Littlefield, 2002. Xie, Tianhai. “Repression And Ideological Management: Chinese Film Censorship After 1976 And Its Impacts On Chinese Cinema.” Master’s thesis, The Florida State University, April 8, 2012. Read More