Since the beginning of Western missionaries, the image of China's autocracy and closure has been circulating for a long time.
Macartney's China visit report and Condorcet 's summary of human civilization show a negative view of China: China has been stagnant, autocratic and rigid, closed and arrogant.
Hegel once described that the once enlightened Chinese empire has become a country of authoritarian darkness.
Charles Desson, the editor-in-chief of the famous French "Cinebook", was the first foreign film critic to comment on Jia Zhangke's films, and there is such a paragraph in his film review "The Season of Love and Smile".
"through the The delicate relationship between Xiaowu and the chief of public security, the director of the film takes aim at the paradox of the current system, which forces its representatives on the fringes of society to curb the dynamism they have injected in the upper echelons of power.”
In the article, Charles Daisson further divided the crime type in "Xiao Wu" into upper and lower layers. He believes that the respected Xiaoyong in the film belongs to the crime of the upper class, while he regards Xiaowu as the crime of the lower class.
He pointed out that "although these two types of crimes are essentially the same in principle, they are used in different social classes, and the difference is only in the social status".
It can be seen from the article that the author has misunderstood Xiaowu and the thousands of Xiaowu-like characters in Jia Zhangke's films, obviously because of the misunderstanding of the characters in the movies created by Jia Zhangke.
We know that there is no class division in China, every Chinese citizen is equal. Jia Zhangke's films were created based on the principle of "recording the truth and restoring the truth". He did not deliberately show or over-modify, but recorded the most original and true side. His own experience of Xiaowu is also full of pity.
And his films also used Xiaowu-style marginal characters as the protagonists many times, reflecting the innermost desire of urban youth and the desire to be understood with the development of society.
We know that Xiao Wu was arrested in a burglary and was taken to the police station by police officer Zhao. He did not mistreat Xiao Wu, but severely criticized his burglary. Officer Hao educated Xiao Wu more earnestly. When Xiao Wu asked if he could read the pager, Officer Hao agreed and even told him the content of the pager.
In 1919, "Red Lantern" was released in the United States. This film is the first time that a Chinese female image appeared in a Hollywood movie.
The Chinese woman starring Anna May Wong is a third party involved in other people's families. This is also the first Chinese actress to be used in Hollywood. Judging from the various roles she has played in Hollywood movies, it has obvious repression and attack. Or humiliation, or weakness, or kitsch and a series of social bottom roles.
Chinese female identity suffers from the dual suppression of sexism and racism in the practice of gender "Orientalism" discourse.
The sexual relations in Jia Zhangke's films cover almost all of his films, and the discussion on the status of women in the films never stops.
Taking "love" as the starting point, the attitudes of women in Jia Zhangke's films towards love can be divided into three types: those who obey and obey; those who let nature wait for love; those who dare to love and dare to hate.
They can be unemployed vagabonds living in society, girls with bad jobs in public places, factory workers, intellectuals on campus, or even business elites who surpass ordinary men and stand in higher occupations.
Xiaoyu played by Zhao Tao in " is destined to " is the front desk clerk of the "Yeguiren" sauna shop in Yichang, Hubei, who was mistaken for two male guests at workIt was the massage lady who forced Xiaoyu to serve her.
Xiaoyu did not endure humiliation like traditional women in the past, but broke the image of traditional women as weak and incompetent and submissive for many years. In self-defense, she even stabbed the opponent to death as a last resort, and then surrendered to the police station. In
" Ren Xiaoyao ", Zhao Qiaoqiao fell in love with Qiao San, a physical education teacher, which was extremely rare and rare in those days, but she didn't care about other people's eyes, dared to break the shackles of traditional morality on women, and decided to leave own way. Zhong Ping in
" platform " reflects the awakening of female consciousness in the character relationship with Zhang Jun. Zhong Ping has always been in love with Zhang Jun. In order to be with Zhang Jun every day, she worked tirelessly and ran around with the band. At that time, she wanted to marry Zhang Jun.
However, an accident made Zhong Ping change her original thoughts. After experiencing a miscarriage, Zhong Ping found that Zhang Jun was not a responsible man, so she decided to leave.
Shen Hong in " Three Gorges Good People " is looking for her husband Guo Bin, who has not returned for two years. When she learned from others that her husband was having an extramarital affair, she chose to give up the search. maintain this loose marriage. Su Na in
" Twenty-Four Cities ", her character is a new woman who has a clear understanding of herself, knows how to plan her own life route, grasps her own life destiny, and has the courage to pursue fashion. After
entered the factory, Su Na found that she did not want to live a life of working in the factory forever, so she boldly became a buyer, regularly bringing goods to Hong Kong and reselling them to the rich.
In addition, she took an interest in the restaurant industry, trying to be a restaurant manager. Jia Zhangke has created such an image for us with a distinctive character, independence, not afraid of challenges, daring to try and innovate, to show us the awakening of female consciousness brought about by the rapid development of China in the new era.
However, some Western remarks believe that Chinese women have no social status or even human rights. They believe that women in the new era of China are still in the period of feudal society, and they believe that women are dependent on men to survive and have no independent economic and spiritual personality.
"The Reproduction of Human Feelings, Face and Power" mentioned: "Chinese people use the concept of heaven, fate and fortune to communicate between people, and they have created a word that Westerners can't understand, called fate. "
For the concept of "heaven", the Chinese have always adopted the method of conformity, while the Westerners have conquered.
They also often imagine how Chinese men oppress and control women in a patriarchal society. There are many reasons for this problem, such as the idea that men are superior to women in traditional Chinese culture.
However, in the new era, we can understand from the relationship between men and women in Jia Zhangke's films that Chinese women have human rights in the new era and have a certain status in society.
They do not rely entirely on men and become the "other" in the eyes of men, but have a certain self-awareness and family status.
In their love relationship, they are no longer the female image who is submissive and submissive when looking at men, but has the courage to pursue their own love, manage their own lives well, and even dominate in love.
The female characters of the new era in Jia Zhangke's films serve as role models. Her pioneering image breaks traditional stereotypes about women and prejudice against women, encourages gender equality, and makes audiences, especially women, resonate emotionally and resonate in value. .
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