Farewell My Concubine, produced by the filmmaker, Chen Kaige, originates from Lilian Lee’s eponymous novel. It uses symbolic images through which to explore the modern history of China, and criticizes the Cultural Revolution in particular. None of the characters in the film was freed from the backgr...
Farewell My Concubine, produced by the filmmaker, Chen Kaige, originates from Lilian Lee’s eponymous novel. It uses symbolic images through which to explore the modern history of China, and criticizes the Cultural Revolution in particular. None of the characters in the film was freed from the background of the time in which the film is set, and one’s willingness was incapacitated from its history. I consider the symbolism of the film version of Farewell My Concubine in relation to that of the original. Of several characters in the film, Xiaolou, the main character, plays a role of “King of Chu” performing at the Pecking Opera with Dieyi playing “Yu” and Juxian who is the wife of Xiaolou in real life. Love and hatred, and change in life that these characters portray develop in conjunction with China"s modern history. When the Pecking Opera achieved popularity, they were heroes with support from those in power at the time. However, when communists came to power and the Cultural Revolution began, the arts and tradition of China were to be knocked down and regarded to be the enemy of the public. As the Pecking Opera fell away, the life for the characters began to collapse steadily. With regard to when the main characters collapsed in the film, I focus on Dieyi’s identity and his view of art. Dieyi was traumatized as he felt he was abandoned by his mother. His mother, a prostitute, abandoned him because he was not female. Later when he joined the troupe, it forced him to play a female role. In order not to be abandoned by the troupe like what his mother did to him, he mentally became female. Dieyi’s existence can only be recognized through the Pecking Opera. Dieyi delightfully performs for the people who recognize the quality he has to be a Pecking Opera actor and appreciate the quality. The character sings for love and art. Prevented from singing just for love and art, Dieyi begins to take drugs, which symbolizes a corrupted art. In the last scene, when the Cultural Revolution came to an end, Dieyi, who appeared on stage with Xiaolou, realized he was not a woman and committed suicide. This showed Dieyi, who played the role of Yu, who was female in the Pecking Opera, completed his life as a woman in the same way Yu committed suicide in the Pecking Opera. Dieyi’s suicide was the unreasonable death of an artist who was a victim of the governmental authority of that time. Paradoxically, the suicide symbolizes the completeness of the life of the Pecking Opera actor.
Farewell My Concubine, produced by the filmmaker, Chen Kaige, originates from Lilian Lee’s eponymous novel. It uses symbolic images through which to explore the modern history of China, and criticizes the Cultural Revolution in particular. None of the characters in the film was freed from the background of the time in which the film is set, and one’s willingness was incapacitated from its history. I consider the symbolism of the film version of Farewell My Concubine in relation to that of the original. Of several characters in the film, Xiaolou, the main character, plays a role of “King of Chu” performing at the Pecking Opera with Dieyi playing “Yu” and Juxian who is the wife of Xiaolou in real life. Love and hatred, and change in life that these characters portray develop in conjunction with China"s modern history. When the Pecking Opera achieved popularity, they were heroes with support from those in power at the time. However, when communists came to power and the Cultural Revolution began, the arts and tradition of China were to be knocked down and regarded to be the enemy of the public. As the Pecking Opera fell away, the life for the characters began to collapse steadily. With regard to when the main characters collapsed in the film, I focus on Dieyi’s identity and his view of art. Dieyi was traumatized as he felt he was abandoned by his mother. His mother, a prostitute, abandoned him because he was not female. Later when he joined the troupe, it forced him to play a female role. In order not to be abandoned by the troupe like what his mother did to him, he mentally became female. Dieyi’s existence can only be recognized through the Pecking Opera. Dieyi delightfully performs for the people who recognize the quality he has to be a Pecking Opera actor and appreciate the quality. The character sings for love and art. Prevented from singing just for love and art, Dieyi begins to take drugs, which symbolizes a corrupted art. In the last scene, when the Cultural Revolution came to an end, Dieyi, who appeared on stage with Xiaolou, realized he was not a woman and committed suicide. This showed Dieyi, who played the role of Yu, who was female in the Pecking Opera, completed his life as a woman in the same way Yu committed suicide in the Pecking Opera. Dieyi’s suicide was the unreasonable death of an artist who was a victim of the governmental authority of that time. Paradoxically, the suicide symbolizes the completeness of the life of the Pecking Opera actor.
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