Media: Final Lessons..

SelF EvaluatioN...

Attainment- 1... Work is of a high standard

Effort - 1... always try and make contributions

Punctuality- 1... im always on time

Submission and quality of homework -2... always try and do the best i can and hand it on the due date

Ability to work independently- 1... independent study supports this!

Quality of writing- 2... sometimes my expression can be a bit poor, nonetheless i think im an ok writer...

Organisation of Media folder- 2... sheets need to be filed properly..

Oral contributions in class- 1... like i said i always try and say something.. plus Mr Munro more or less always asks me to read .. hmm

Quality of coursework- 2... Quality was decent but now need to do second draft

Standard of Module 5 blog- 1

Standard of Module 6 blog- 1... always post homework and other work on thiss

1) Organisation of folder
2) Begin revision
3) Practise papers

FirsT DrafT..

‘You can’t force a woman against her will’[1]- with reference to ‘House of Flying Daggers’ (2004 d. Zhang Yimou), have women become the protagonists in action/adventure movies OR are they still perceived as inferior to men?

"Narrative plays on conflict, on surprise, on role reversal."[2] The text ‘House of Flying Daggers’ directed by Zhang Yimou evidently portrays the changing roles of women, but more specifically East-Asian women, in action/adventure movies. The text is centered on a Chinese action genre however there are also elements of romantic love story forming. Women in the film are perceived differently to what audiences are normally used to viewing, as they are the ones which drive the narrative forward, however there are still elements of voyeuristic pleasures for the assumed ‘male spectator’[3]. As the film is distributed by Sony Picture Classics, the audience will feel more intrigued to watch it, due to Sony being a respected brand. This also suggests the film will not be associated with the art-house genre, due to its high-budget made available by Sony. In addition to this mainstream audiences can be said to be its primary target audience, however, how far is this text a representative for the changing roles of women in action/adventure movies?

Our first meeting with the main female protagonist, the apparently blind Mei (Zhang Ziyi), is in a brothel house. This seems typical of an East-Asian woman during 859 AD, the period when the Tang-dynasty was in power, whereby males were the rulers and exploiters, and there roles were far more masculine (e.g. officers) which would further involve them demonstrating their dominance over frail women. ‘At this time, male dominance was guaranteed and maintained by certain norms’[4] as women were meant to obey their male-counterparts and portray their fidelity towards them; furthermore they were expected to show skill in needlework, which would reveal their ability to be domesticated and worthy housewives. As the plot for the critically acclaimed ‘House of Flying Daggers’ commences, Mei is assumed to be a member of the notorious House of Flying Daggers, a self-proclaimed organization out to disrupt the legislations of the already corrupted government of China, in order to help the poor. However, when Mei is asked to perform the first dance in the brothel house, her elegance overshadows her wit and ability to fight, therefore creating doubts about her involvement with the Flying Daggers. Nonetheless, the government officials still suspect her to have answers of the whereabouts of the House of Flying Daggers. After she has been captured and taken into questioning; she stubbornly refuses to open her mouth, thus forcing Jin (Takeshi Kaneshiro), a local deputy, to slyly gain her trust (by helping her escape prison) in hope of her leading him to the hide-out of the Flying Daggers. The entire text is constructed in a linear form in order to help audiences focus, without shifting through time. Furthermore, sub-titles are also available for non-speakers of the Chinese lingo; this confirms how the film was intended to be seen by western audiences as well as eastern.

Laura Mulvey[5], a British feminist film critic, introduces her theory in her book ‘Visual Pleasure and Narrative Cinema.’(1975) Many aspects of her theory are relevant to my study, for example, she suggests that male spectators are assumed when a text is produced; therefore women are encouraged to have qualities of being looked-at-ness, whereas the main protagonists will be male in order to allow the ‘male audience’ to identify with them. In the ‘House of Flying Daggers’, there are a various scenes where the main woman protagonist, Mei, is dressed to impress and in contrast to this there is a semi-naked scene of her bathing herself in an exotic lake; which adds a fantastical effect. Furthermore, Mei seems to be constantly revealing her shoulders (when she and Jin have sex), and this seems to be portrayed as desirable and is also a fetishished body part. On the other hand, my text also tries to challenge this view of ‘male spectators’, as Mei is also involved in combat, where she begins to look ‘rough’ and not as appealing. This in some ways could link to Freud’s theory of ‘penis envy’[6], where women apparently idealise men and want to interact in the ways they do; furthermore she handles daggers and swords (phallic objects) when she is contributing in the large combat in the bamboo forest, which enforces the idea of patriarchal society.

Our interpretations of the female and male roles are proven to be false, as women are the ones that play an active part and regulate forthcoming events; this enables audiences to identify with them and also demonstrates the subversive nature of the film. Due to this very distinctive approach by Yimou, where there is an obvious role-reversal; audiences would enjoy viewing something a little more unconventional compared with other eastern-cinema in the past, for example ‘Enter the Dragon’ (d. Robert Clouse, 1973)[7]. When considering films such as Enter the Dragon, where we have Bruce Lee as the main protagonist; the audience will realise that the women present in this film are there to fill the roles of slaves and worshippers of the men. This signifies male dominance and the patriarchal society that existed in the 1970’s in China and Japan. However, Nanako Kurihara documentary ‘Ripples of Change’ (1993) contemplates on ‘Japanese women’s liberation movement in the 1970’s and its influence on contemporary Japanese society.’[8] Nonetheless, seeing as this social change had not been reflected in Enter the Dragon, clearly underlies how women were still perceived as subordinate to men and inferior in society. We see a resemblance to this in the ‘House of Flying Daggers’, where the first time we see women is inside a brothel. They are under the control of men, and also seductively dance to be rewarded by applause. Their looks and posture are their main focus, and the male are the on-lookers of this stunning beauty. This applies to Laura Mulvey’s theory where she undoubtedly states that males are the assumed spectators and therefore women are encouraged to have qualities of being looked-at-ness, whereas the main protagonists will be male in order to allow the supposed male audience to identify with them.

Alternatively, ‘Crouching Tiger, Hidden Dragon’ (d. Ang Lee, 2000)[9] also stars Zhang Ziyi. Her character involves her being in combat scenes; and once again her role helps to drive the narrative forward. She is a princess who turns into a warrior and also a very significant character to the whole plot. As Ziyi’s particular character in this movie is similar to that of hers in ‘House of Flying Daggers’, audiences are able to create a sense of familiarity with her and therefore already expect her to be involved in many high-flying stunts, due to both films having a epic ‘structural intertextuality’[10]. This idea suggests that 'a text's unity lies not in its origin but in its destination'[11], therefore audiences are the ones that make their own interpretations of a text with the contents on-screen. Another text which portrays a woman in a lead role is Takashi Miike’s 1999 film ‘Audition.’[12] However, we see this text diverts from the typical Chinese cinematic style of incorporating martial arts and instead adopts a Hollywood narrative approach. The plot, in brief, begins with a widower (Ryo Ishibashi) in search of a new wife (Eihi Shiina) by holding auditions. It turns out that the woman he has taken a liking to, has a hidden agenda and a sadistic side which he soon becomes exposed to. Miike’s presentation of Shiina is atypical as she is involved in a very active role; however her character is that of a love-obsessed woman looking to be accepted. In comparison to this, ‘House of Flying Daggers’ also associates this love factor with Mei. Although she is an active female, she is the cause of an unexpected love triangle between Jin and Leo (Andy Lau) which later forces her two ‘lovers’ to be locked in fight to the death. This demonstrates how women’s roles are becoming influential on film narratives.

As Chinese cinema is beginning to utilise narrative styles from Hollywood, i.e. continuity editing, Hollywood are relating the Chinese artistic culture in their movies. ‘Kill Bill: Vol. 1’ (d. Quentin Tarantino, 2003)[13] is one of the major blockbusters to hit screen, which depicts women in a much stronger and ‘masculine’ manner. Here we have Uma Thurman; arguably objectified in her leather skin tight outfit as appealing to Mulvey’s suggested theory, however her lack of make-up and concern for her looks allows both female and male audience to appreciate and admire her more so for her capability to defend herself against her enemies. Additionally, she handles a samurai sword (these weapons of single destruction bring homage and honour to the warrior that carries them[14]), which in some aspects may be seen a phallic object, suggesting her only sense of power originates from a masculine item, on the other hand, this could portray her control over events and also over men, as she is in fact deciding what the sword can and cannot do; she is liberated and independent. Similarly in the ‘House of Flying Daggers,’ Mei’s beauty seems to be the topic of discussion in the mind of audiences, however this portrayal of her is soon altered as in the latter part of the movie she must wear male clothing, which makes her look a little less attractive. This subtly drifts from the theory of the ‘male gaze’ as the attention is diverted from her beauty onto her ability to fight. Nonetheless, to audiences, it seems as though she is still trying to pursue her male partner, Jin, as during an emotional conflict between the two she questions his feelings towards her. This seems typical of her womanly character; however this is proven to be a façade where she fools Jin by pretending she has fallen for him, only to achieve her own goals and get what she wants. This cunning nature that she possesses shows her superiority and control of emotions, a feature that many people would fail to notice in a woman. This overall makes her character more dominant and soon audiences begin to identify with her; they ‘become an active part of the textual formations of the film’[15] shown from a woman’s point of view.

The representation of women in eastern cinema is becoming unique compared with Hollywood. When analyzing movies from the western culture in 1950’s, actresses such as Marilyn Monroe would fulfill the males’ desire by having the qualities to be-looked-at-ness. Contemporary cinema focuses on this issue; texts such as ‘Charlie’s Angels’ (d. McG, 2000) are significant of this portrayal of women however it seems as their active participating does not override their quality of appealing to the male gaze. It may seem that they are moving away from passive roles; however the question still remains, if they are so active then why are they controlled by a male, Charlie? Mei, on the other hand, although apart of an underground organization is in the control of another woman, the assumed brothel owner. This again proposes how women in this film are perceived as superior and ore authoritative than the males. As a woman is the leader of the alliance, it shows how woman are moving away from the patriarchal society and forming, in some ways, a sub-culture.

Throughout the movie, middle class Chinese men and women are being represented in a quite deceitful, yet very active role. Women are shown in glamorous brothels which show them to be a fantastical place. They are portrayed as honorary, reliable and people who take much pride in their culture. Their clothes symbolise their wealth and music represents harmony. However, there are obvious signs of a corrupt government and therefore makes you question whether they are peaceful or violent people. Yimou may have wanted to represent them in this way to show how they in some ways differ from the rest of the world when it comes to their fighting techniques but also show similarities in the way their political system works. This representation could be fair and accurate but most certainly is exaggerated as away of assuring the text will be entertaining. Furthermore, the entertainment factor is vital to a successful film therefore making unique storylines is almost inevitable. Showing women in roles which play with audiences’ expectations of them fabricates an exclusive experience for the readers of the film. 'Mulvey argued that the only way to annihilate that "patriarchal" Hollywood system was to radically challenge and re-shape the filmic strategies of classical Hollywood with alternative feminist methods,'[16] therefore women being the main protagonists in action movies is an interesting approach and one which will intrigue many audiences due to its originality.

However, the ‘House of Flying Daggers’ can not be specifically categorised to one genre, as there is a mixture of stories being told. The movie is action, adventure, love and an epic fantasy. This is similar to other texts directed by hang Yimou, such as Hero (2002), as this move contains elements of action, adventure and drama. In the ‘House of Flying Daggers’, there are many intimate moments where the protagonists reveal their feelings for one another by either holding hands or even kissing. However, the iconographic images of the swords, daggers and even shots of blood reveal the action and adventure side to the film. This hybridism emulates the confusing path the film take in terms of who the main protagonist is and events which occur; furthermore the theme of appearance and reality is challenged. Yimou may be using this technique to outline a betrayal of protagonist’s behavioral characteristics in relation to the audience expectations of them in the later stages of the movie through disguise or deceit, occurring from certain events. This allows Yimou to show Mei as sly and manipulative, a feature in women which audiences would not normally identify with or accept but is excused in this text due to the narratives convoluted structure. Additionally, many of the characters adapt to the recommended character profile of Vladimir Propp’s theory[17]. However, we see that many flip and change their given profile, for example, we firstly identify Jin as the Hero and Leo as the dispatcher but as we progress into the movie it becomes apparent that Mei is in fact the Hero, whereas Leo becomes the Villain (and in some cases the false hero). This is a clear binary opposition (Claude Lévi-Strauss[18]) between good vs. evil, where we see that the hero does prevail as Leo is killed by Mei. This reinforces the failure of the dominant ideology of males being the dominant as Mei presented as the hero, and moreover eradicates a male lead.

As previously mentioned, the aspect of a love-story is also present in the movie, and Yimou takes many mediated approaches to ensure this is established by audiences. Yimou uses many angles and shots in the ‘House of Flying Daggers’ but above all he likes to take advantage of ‘close-up’ shots. To signify the love between Mei and Jin and the love that Leo has for Mei, Yimou decides to show the intimate movement of hands meeting and touching. During one of the main fighting sequels in the bamboo forest, the main colour on screen is green. This connotes the build-up on envy and jealousy that the fighters have enraged; either for between the two alliances or the lovers. At this point the non-diegetic music is speedy and adopts instruments from the Chinese culture. The beats of the drums become deeper to intensify an action and this is complimented by the fast-action shots and angles. However, as we approach the ending of the film, there is an intense battle between Jin and Leo over the dying Mei. During there quarrelling, there is significance in the weather change and this connotes the duration that Jin and Leo have been battling for. Furthermore, this could also portray the upcoming tragedy as the weather dramatically turns from a bright spring day to a blizzard. As this is the most important battle, there are various slow motion and close-up shots, especially concentrating on ones facial expressions to convey the heartbreak. The music saddens at these points to exaggerate the action and also to give the ‘love-story’ authenticity. It would seem as if Mei is included in this scene to represent the emotions being conveyed, however, when looking into more depth, one will realise that even though she is not highly involved in the final battle, she is still the one who gets the last shot; she makes the final decision about which one of the men lives or dies. This is a very important decision and it is interesting that Yimou elects Mei’s character to make the final choice, instead of either Jin or Leo killing each other.

To conclude, women’s roles in film are changing significantly as a way to reflect society’s changing attitude towards them. There active roles and transition in the way that they were perceived in earlier films has been made evident in recent action/adventure genres. This originality presented by directors portrays them as inferiors to their male counterparts and also challenges Laura Mulvey’s theory of the ‘Male Gaze’ where she assumes that women are included in films solely to be objectified to allow male audiences to be subjected to scopophilia.

[1] ‘House of Flying Daggers’
[2] http://www.stp.uh.edu/vol63/88/Campus2/8821098/8821098.html
[3] Mulvey, Laura (1975): Visual Pleasure and Narrative Cinema.
[4] http://www.chinavoc.com/history/tang/women.htm
[5] http://en.wikipedia.org/wiki/Laura_Mulvey
[6] Young-Bruehl, Elisabath (1990): Freud on Women. London: The Hogarth Press
[7] http://www.imdb.com/title/tt0070034/
[8] ‘Ripples of Change: Japanese Women's Search for Self’ (d. Nanako Kurihara, 1993)
[9] http://www.imdb.com/title/tt0190332/
[10] http://www.aber.ac.uk/media/Documents/S4B/sem09.html
[11] Barthes, Roland (1977): Image-Music-Text. London: Fontana
[12] http://www.tartanvideo.com/ht_asia_extreme.asp
[13] http://www.imdb.com/title/tt0266697/
[14] http://samuraiswords.gungfu.com/
[15] Fuery, Patrick (2000): New Developments in Film Theory. Hampshire: Macmillan Press LTD
[16] Mulvey, Laura (1975): Visual Pleasure and Narrative Cinema.
[17] Propp, Vladimir (1928): Morphology of the Folk Tale
[18] http://www.mnsu.edu/emuseum/information/biography/klmno/levi-strauss_claude.html



Bibliography

Works Cited

Moving Image Texts:

· ‘Audition’(d. Takashi Miike, 1999)
· ‘Charlie’s Angels’ (d. Mcg, 2000)
· ‘Crouching Tiger Hidden Dragon’ (d. Ang Lee, 2000)
· ‘Enter the Dragon’ (d. Robert Clouse, 1973)
· ‘Hero’ (d. Yimou Zhang, 2002)
· ‘House of Flying Daggers’ (d. Zhang Yimou, 2004)
· ‘Kill Bill: Vol. 1’ (d. Quentin Tarantino, 2003)
‘Ripples of Change: Japanese Women's Search for Self’ (d. Nanako Kurihara, 1993)

Books:

· Barthes, Roland (1977): Image-Music-Text. London: Fontana
· Fuery, Patrick (2000): New Developments in Film Theory. Hampshire: Macmillan Press LTD
Mulvey, Laura (1975): Visual Pleasure and Narrative Cinema.
· Propp, Vladimir (1928): Morphology of the Folk Tale
Young-Bruehl, Elisabath (1990): Freud on Women. London: The Hogarth Press



Internet:

· http://www.stp.uh.edu/vol63/88/Campus2/8821098/8821098.html
http://www.chinavoc.com/history/tang/women.htm
http://www.imdb.com/title/tt0190332 /
http://www.aber.ac.uk/media/Documents/S4B/sem09.html
http://www.tartanvideo.com/ht_asia_extreme.asp
http://www.imdb.com/title/tt0266697/
http://samuraiswords.gungfu.com/
http://www.mnsu.edu/emuseum/information/biography/klmno/levi-strauss_claude.html
http://en.wikipedia.org/wiki/Laura_Mulvey
http://www.imdb.com/title/tt0070034/





Works Consulted


Moving Image Text:

‘Game of Death’ (d. Robert Clouse, 1978)
‘Kill Bill: Vol. 2’ (d. Quentin Tarantino, 2004)
‘Lord of The Rings’ – trilogy (d. Peter Jackson, 2001.2002.2003)
‘Ong-Bak’ (d. Prachya Pinkaew,2003)
‘Red Sorghum’ (d. Zhang Yimou, 1987)

Books:

· Johnson, Lesley and Lloyd, Justine (2004): ‘sentenced to everyday life’ Feminism and the Housewife. New York: Berg
· Leaming, Barbara (1998): Marilyn Monroe. London: Orion Books LTD

Internet:


http://www.laalternativepress.com/v03n17/film/antani.php
http://www.empireonline.com/reviews/review.asp?DVDID=10546
http://www.totalfilm.com/cinema_reviews/lara_croft_tomb_raider
http://www.screenonline.org.uk/film/id/824016/index.html
http://www.kungfucinema.com/reviews/enterthedragon.htm
http://www.screenonline.org.uk/film/id/824060/index.html
http://www.screenonline.org.uk/people/id/566978/index.html
http://www.imdb.com/title/tt0385004/
http://www.brns.com/femalewarr/pages/overview1.html
http://en.wikipedia.org/wiki/Action_movie

Mini BloG EvaluatioN..

1. How easy has it been to set up your Independent Study blog and to get used to posting things on it? Were you given enough support in doing it? What other help would have been useful?

Been pretty easy, a bit tedious at times with all the tasks, nonetheless they helped!Not really given any support, but then again how much support can u give to post up a comment?

2. How did the blog help with your research? Did the blog motivate you to do more and better research? How? Why?

The blog was helpful in terms of organising research that was collected! I guess in a way it did motivate me to do more research becuase it saved the trouble of printing things and using folders, plus you could add videos to your blogs, an option unavaiable if we had to store all our research in folders..

3. Is it useful having all the Independent Study/blog tasks posted on the Macguffin blog? Does it make it more likely that you will get them done?

Yeh because then the tasks are clearly set out and there isnt any reason not to do them! I don't think it will make it more likely for anyone to actually complete them becuase its up to the individual.. right?

4. How often (honestly!) do you check the Macguffin blog? (Remember, it should be at least twice/week).

More or less 2/3 times a week, depending on what media homework has been set..

5. Has it been useful being able to see and access everyone else’s research and planning through their blogs?

Yeh, because then you can see if your slacking in your own work! Plus its interesting to see some of the research other people have collected and see if you can incorperate any of it in your own study..

6. How do you feel about the fact that your teacher can keep a close check on your progress through accessing your blog? Is it too intrusive and controlling or is it encouraging and supportive?

It can be abit controlling at times simply because its supposed be our independent studies so we shouldnt really get in trouble if task aren't finished on time, however, its a good thing because they encourage us to catch up and also lend there support where possible...

7. How useful have the comments been that you received from…a. Macguffin, b. other students.

a) recieved none from macguffin..
b) ive taken into account some suggestions other students have made about what to include in my study and how to structure it...

8. How has the blog helped with your essay planning? How useful was the blog when it came to writing the essay? Do you think your first draft is better because you have used a blog?

The blog has made it easier to structure ideas! The blog was helpful when i was writing my study because all my reaserch was there in front of me.. it was easy to pick and choose which aspects of my research were more relevant than others..

9. How would you evaluate the quality of your blog? What could you have done better?

I personally think my blog is fine; it was to help me moreso than anyone else, therefore all my postings were directed towards my study! To improve maybe ermm more postings...

10. Do you think you will get a better final grade for your independent study through having used a blog?

Yeh, like i already stated, all research is together, easily accessible and clear to understand, therefore when writing up the first draft, it was simple to see what i wanted to include..hope i get a decent grade still...

11. Which are the best three blogs? Why?

Hmm, i knew this would be a question, love singling people out lol.. i dunno, everyone should got credit for their efforts and what they done! Like i said as well, every1's blogs were for there own use and no-one elses so you can't really say which blog was better..

12. Do you think next year’s Year 13s would benefit from setting up an Independent Study blog?

Of course.. reasons already been stated in previous questions..

13. Are there any negative aspects to preparing for an Independent Study using a blog?

Sometimes the blog crashes or you can't sign in! If your blog messes up then you lost everything.. that would be soo harsh..

14. What could be done to improve teaching and/or learning in future through blogs?

Macguffin should make personal comments on everyones blogs! Atleast then we no the work we put in is being acknowledged..

15. Overall, are you pleased that we used blogs? Has it been interesting and enjoyable? Why? Why not?

Yes, oh my god using blogs was a fantastic idea (thats wot u wanna hear init sir?? lol) na but seriously it was useful having blogs than folders! It gave a chance for all media students view other people's blogs and also give their own feedback on improvements that could have been made...

DetaileD EssaY PlaN...(so far)

‘You Can’t Force A Woman Against Her Will’- with reference to ‘House of Flying Daggers’ (2004 d. Zhang Yimou), have women become the protagonists in action/adventure movies OR are they still perceived as inferior to men?


The text which I will be using to answer the above question is the ‘House of Flying Daggers.’ The text is centered on a Chinese action genre however there are also elements of romantic love story forming. The film is distributed by Sony Picture Classics, and therefore this helps to promote the film as worth watching. Women in the film are perceived differently to what audiences are normally used to viewing, which further makes ht film a hit. It seems as though women are the ones which drive the narrative forwards, as they provide voyeuristic pleasures for the supposed ‘male spectator’, however they are also involved in any action based roles. Our first meeting with the main female protagonist, Mei, is in a brothel house. This seems typical of a Asian woman of that time as males were the main rulers and exploiters, and also had the opportunity of obtaining job roles such as officers. However, as the plot commences, our interpretations of the women and male roles are proven to be false, as in fact women are the ones of a higher status and regulate for coming events. [G, R, A, N, Id, In]

Relating texts

As my essay is focusing on the significant transition of women’s roles in action films, there will be various things which I will be analysing in depth. For instance, when considering films such as Enter the Dragon, where we have Bruce Lee as the main protagonists, the audience will realise that there are women present in this film however their roles are that of slaves and worshippers. This signifies male dominance and the patriarchy that existed in the 1970’s, not only in China but globally. [P, R, A,]

We see a resemblance to this in the ‘House of Flying Daggers’, where the first time we see women is inside a brothel. They are under the control of men, and also seductively dance to be rewarded by applause. Their looks and posture are the main focus, and the male are the on-lookers of this sunning beauty. This applies to Laura Mulvey’s theory where she clearly states that males are the assumed spectators and therefore women are encouraged to have qualities of being looked-at-ness, whereas the main protagonists will be male in order to allow the ‘male audience’ to identify with them. [R, A]

Furthermore, Kill Bill is one of the major Hollywood blockbusters to hit screen which depicts women in a much stronger and ‘masculine’ manner. Here we have Uma Thurman; arguably objectified in her leather skin tight outfit as appealing to the male gaze, however her lack of make-up and concern for her looks allows both female and male audience to appreciate and admire her more so for her fighting ability. Additionally, she handles a sword, which in some aspects may be seen a phallic object, on the other hand, this portrays her control over events and also over men; she is liberated and independent. [R, A, M]

Similarly in the ‘House of Flying Daggers,’ Mei’s (Zhang Ziyi) beauty seems to be the topic of discussion in the mind of audiences, however this portrayal of her is soon altered as in the latter part of the movie she must wear male clothing, which makes her look unattractive. This drifts from the theory of the ‘Male Gaze’ as she does not have qualities of being-looked-at-ness as she also reveals her battling skills, and her dying concern for her physical appearance. Nonetheless it still seems she is out to pursue her male partner, Jin. [A, R, M, N]

‘Crouching Tiger, Hidden Dragon’ also stars Zhang Ziyi. Her character also involves her being in combat scenes; and her role helps to drive the narrative forward. She is a princess who turns into a warrior and also a very significant charter to the whole plot.

Vladimir Yakovlevich Propp

The villain (struggles against the hero) - Leo
The donor (prepares the hero or gives the hero some magical object)-
The (magical) helper (helps the hero in the quest)- Mei
The princess (person the hero marries, often sought for during the narrative)- Mei
The dispatcher (character who makes the lack known and sends the hero off)-Leo
The hero or victim/ seeker hero, reacts to the donor, weds the princess-Jin
False hero/anti-hero/usurper — (takes credit for the hero’s actions/ tries to marry the princess)- Leo

This theory can also be applied to my text as you can see above, many of the characters fit into Propps character types, (some fall in more than one).

http://en.wikipedia.org/wiki/Propp

Laura Mulvey

'Mulvey argued that the only way to annihilate that "patriarchal" Hollywood system was to radically challenge and re-shape the filmic strategies of classical Hollywood with alternative feminist methods.'

http://en.wikipedia.org/wiki/Laura_Mulvey

Tang Dynasty

As the House of Flying Daggers is centered around the period when the Tang Dynasty was in power, it is good to aknowledge the lack of control and significance that women had.

DURING China's feudal epoch, society was male-centered. There was consequently a pervasive belief in man's superiority over woman that continued as the ruling ideology throughout feudal society. Women were thus regarded as little more than bond servants in feudal China.At this time, male dominance was guaranteed and maintained by certain norms. The three cardinal guides (ruler guides subject, father guides son, and husband guides wife) and the five constant virtues (benevolence, righteousness, propriety, wisdom and sincerity) defined social behavior, and the three obediences (in ancient China a woman was required to obey her father before marriage, her husband during marriage, and her sons in widowhood) and four virtues (women's fidelity, physical charm, propriety in speech and proficiency at needle work) guided the family order.

This outline of a women's position allows one to understand why the character of Mei astonishes and alarms Jin when he see's that she disobey's the norms and ideologies of the time, with her fighting skills and her stubborness towards the government officials. With this this breif history audeinces can also understand why the 'House of Flying Daggers' (domainted by a woman figure) was fabricated.

http://www.chinavoc.com/history/tang/women.htm

Three texts whihc i have decided to comment on in my independent study are 'Enter the Dragon', 'Kill Bill and Crouching Tiger', 'Hidden Dragon.' All these films are based around the portrayal of both males and females, and also include the genre of martial arts. It will be relevant for me to therfore make reference to the texts as a way to justify ceratin arguments which i intend to make and also i think they will help me in producing a debatable essay. I will also be making reference to few other texts such as 'Buffy the Vampire Slayer', as this to depcits women in a more action based role!!


Crouching Tiger, Hidden Dragon (2002) d. Ang Lee


In the early 19th century of China, martial arts master Li Mu Bai (Chow Yun-fat) is hanging up his sword, a legendary, 400-year-old blade known as Green Destiny, after fighting for so many years. He wants to retire into a life of quiet self-contemplation after his endless pursue for his master's killer was going no where. He realizes that revenge was not a way out. Although still keen on avenging the death of his late master, who was killed by the witchlike Jade Fox (Cheng Pei-pei), Li now seems more inclined to a meditative life and entrusts the sword to Yu Shu Lien (Michelle Yeoh), a friend and warrior with whom he has experienced a mutual, long-suppressed love. He wants Shu Lien to give the sword to a good friend in Beijing but things get complicated along the way. While delivering the sword to Beijing, Shu Lien meets Jen (Zhang Ziyi), a petite, headstrong politician’s daughter. Jen is unhappy over being forced into an arranged marriage, which only increases the envy she feels over the freewheeling lifestyle she imagines is enjoyed by Shu Lien. She is a good fighter and has a good strong heart, but she's too stubborn and easily manipulated. Later, Green Destiny is stolen by a masked thief. Sir Te's chief security officer Bo (Gao Xian) and Shu Lien, both skilled fighters, try in vain to stop the thief, but the mysterious figure escapes. After the sword is stolen, the plot supposely get better as Li Mu Bai (Chow Yun-fat) has to recover the sword along with the help of Shu Lien. Together they would embark on a quest that will determine their fate and destiny for their love for each other.

http://www.geocities.com/warrow80/CrouchingTigerReview.html

Kill Bill Vol.1 (2003) d. Quentin Tarantino


The Deadly Viper Assassination Squad consists of five most deadly killers, led by Bill. There is O'Ren-Ishii as Cottonmouth, Elle Driver as California Mountain Snake, Vernita Green as Copperhead, Budd as Sidewinder. And there is The Bride, whose name is not spoken, who wanted to quit because she was pregnant. One day, somewhere in the Texas desert, The Bride wanted to marry the love of her life. Then Bill and her former colleagues showed up and killed everyone there. But they did not do a good enough job: The Bride survives, barely, and is in a coma for four years. Her colleagues know this but won't kill her in her sleep, it would just ruin the reputation. One day, The Bride awakens. For her, not a second has consciously passed, and after she realizes all the things that have happened, The Bride decides to take revenge. Bloody revenge. On each single one of those who betrayed her. First on her death list is Cottonmouth, who has become the yakuza boss of Tokyo, Japan, second in line is Copperhead, who chose a more decent life as well. The Bride sets out to take back what was once hers: Her life.

www.imdb.com

Enter The Dragon (1973) d. Robert Clouse

A Mini Trailer...

Hong Kong circa 1973. Lee, a member of a Shaolin Temple, is a master of the physical and spiritual disciplines of the martial arts, and is being visited by Braithwaite, a British law officer. Lee has been invited to a tri-annual martial arts tournament held on an island owned by Han, a reclusive billionaire who was once a member of the Temple but has now become a renegade. Braithwaite believes Han uses his tournaments as cover for narcotic and prostitution activities. Lee reluctantly agrees to enter the tournament, but his reluctance to confront Han disappears when a Shaolin monk reveals that during the previous staging of this tournament, he and Lee's sister were accosted by several toughs led by Han's personal bodyguard, an American named O'Hara. In the ensuing confrontation the monk cut a deep scar on O'Hara's face but Lee's sister ultimately perished, and at her gravesite Lee vowes revenge for her death. Also attending the tournament are two American martial arts experts, John Roper and Kelly Williams, who served together in Vietnam and took differing paths toward martial arts upon their discharge - Roper is on the run from Mafia gambling debt collectors, while Williams was accosted by two racist cops whom he'd dispatched before stealing their car to escape. All three will soon find themselves at the mercy of Han and his army of martial arts fighters as he protects his underground factory of narcotics and prostitution.

www.imdb.com

ApplyinG LaurA Mulvey'S TheorY...

Laura Mulvey’s theory of the ‘Male Gaze’ will be the key theory that I will apply to my independent study as I am focussing on the representation of women in ‘House of Flying Daggers’.

Many aspects of her theory are relevant to my study, for example, she suggests that male spectators are assumed when a text is produced; therefore women are encouraged to have qualities of being looked-at-ness, whereas the main protagonists will be male in order to allow the ‘male audience’ to identify with them. In the House of Flying Daggers, there are a various scenes where the main woman protagonist, Mei, is dressed to impress and in contrast to this there is a semi-naked scene of her bathing herself in an exotic lake; which adds a fantastical effect. Furthermore, Mei seems to be constantly revealing her shoulders (when she and Jin have sex), and this seems to be portrayed as desirable and is also a fetishished body part.

On the other hand, my text also tries to challenge this view of ‘male spectators’, as Mei is also involved in combat, where she begins to look ‘rough’ and not as appealing. This in some ways could link to Freud’s theory of ‘penis envy’, where women apparently idealise men and want to interact in the ways they do; furthermore she handles daggers and swords (phallic objects) when she is contributing in the large combat in the bamboo forest, which enforces the idea of patriarchal society.

'Ripples of Change'...

'Ripples of Change: Japanese Women's Search for Self' (1993) d. Nanako Kurihara

Powerful political analysis is combined with a passionate personal story in this exceptional documentary about the Japanese women’s liberation movement in the 1970’s and its influence on contemporary Japanese society. Director Nanako Kurihara left her homeland in the 1980’s, frustrated by the lack of interesting roles for women in Japan. In New York, she met a Japanese woman who had been involved in the women’s liberation movement in Japan in the 1970’s. Kurihara returned to Japan, bringing together interviews with veterans of the movement, fascinating archival footage and her personal impressions to produce a film which explores the meaning of the liberation movement, the factors that motivated it and the effect it has had on people’s attitudes. RIPPLES OF CHANGE is an excellent resource for the study of global feminism, women’s roles and Japanese society.

“A powerful and daring work.”
Kyoko HiranoFilm Center, Japan Society

“Fascinating, cross-culturally inspiring.”
Robin MorganMs. Magazine

“A unique opportunity for thought-processing the notable similarities in the US and Japanese movements towards sex/gender equity.”
Library Journal

http://www.wmm.com/filmcatalog/pages/c74.shtml