In his 2006 film, Still Life, Jia Zhangke creates an enigmatic case study of alienation and displacement. Through the use of space, both literal and figurative, and long, extended takes that expand the perception of time Zhangke tells the story of a people who are victims of their own environment. What is perhaps most striking of the film, beyond even the existential and political undertones, is the division drawn between the cold and demonstrative attitude the government adopts towards its citizens and the warm, caring daily interactions between the people themselves.
The film opens with the protagonist, Han Sanming, arriving to the city of Fengjie in a fashion almost as languid as the boat ride there. The story follows a narrative, albeit nonlinear, plot with characters coming in and out of this tone-driven piece of cinema. Yet for every random appearance and non sequitur a small impact is made upon the viewer, slowly immersing them in the world the people of the film live in. The audience comes to feel a kindred spirit in Han's struggle to comes to terms with self and life, and share in his victories as well as his defeats. The people and places in the film are not unlike the experiences we must endure in our own lifetimes, though not literally, but in attitude and approach. Just as Han, we have all felt the kind support of trusting friends as well as suffered losses that cannot fully be expressed in words. The most personally defining moment of Still Life is the juxtaposition of the final dialogue between Han and his friends and the government graffiti sprayed across condemned buildings.
Han arrives to Fengjie as a time capsule, holding only memories of the city before the construction of the Three Gorges Dam that has now inun...
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...ot help but be torn by the strife and struggle the people of Fengjie are forced to accept as a convention on the mantel of normal behavior.
Still Life is remarkable in that it allows for open interpretation from the audience. Different aspects of the film hold varying degrees of personal relevance and one may extrapolate as much or as little as they see fit in order to unravel its underlying meaning. Personally speaking, there is nothing more important than the steadfast loyalty of dependable friends and, to someone of such inclination, Still Life certainly embodies that ideal. Through the visualization of a discrepant world Zhangke puts the human condition under a microscope to show that it is not the externalities of our environment that impact us the most greatly, but it is the very malleable social domain in which we inhabit that gives us identity and definition.
The film, The Graduate, tells a story about a new college graduate and his experience upon returning home to expectations of his peers and a fear of his own future. Produced in the 1960’s, The Graduate, depicts topics such as isolationism and alienation through the protagonist, Benjamin Braddock. The main theme of the movie is the idea of Benjamin’s isolation being caused by the pressure from expectations that the older generations lay upon him; he does not know what he wants to do with his future, yet his father and peers continues to hound him and question him on his future plans. A common fear for most college students and newly college graduates, many college students are unsure of where their lives will lead them and without a certain answer, can be nerve racking. Benjamin’s father and peers make this idea apparent to Ben when they often ask him “What are you gonna do now?”. Our protagonist does not seem to have a positive answer for them almost every time. Mr. Braddock also parades Benjamin to his friends by buying him extravagant gifts
In the opening scenes, as the two protagonists say goodbye to their family, they throw their phones out of the window with triumphant music being accompanied by. This suggests that they are finally escaping their everyday life where it is heavily consumed by the technology that surrounds them. A bird’s angle through a long shot of the protagonists by the shore has been used to create a sense of futility, thus highlighting that there is no time limit constraining them. A series of videos of them building their house out of debris highlights their creative inventions. Their creativity is portrayed with their idea of using plastic water bottles as insulation, thus symbolizing that discovering something for the first time can broaden one’s understanding. This highlights the impact of discoveries to being able to escape from the norm and allowing the human mind to explore without limitation within a limited environment and thus grow through which has been exemplified through the manipulation of photos and camera
Throughout the movie the director breaks down the message in clever ways and makes the message very precise and clear. In the movie the director was attempting to teach the viewers a life lesson. In order to have peace of mind and continue to actually “live” it is important that you don’t hold grudges, believe, have faith, and no matter the situation don’t ignore signs due to your stubbornness or convincing yourself otherwise when you know the truth.
While there are many different ways to classify a Neo-noir film, Roman Polanski’s, Chinatown captures many. The 1974 movie consists of many of these elements, including both thematic and stylistic devices. One of the main themes of neo-noir film that is constant throughout the film is the deceptive plot that questions the viewers’ ideas and perceptions of what is actually happening in the film. Every scene of Chinatown leads to a twist or another turn that challenges the practicability of the film’s reality. All of the never-ending surprises and revelations lead up to the significant themes the movie is trying to convey in the conclusion of the film.
Traditions in Chinese culture are long-rooted and are taken very seriously from generation to generation. However, there must always be room for modern change in order for society to grow and strive across the globe. In Bound Feet and Western Dress the conflict between Chinese traditions and modern change arises. With this conflict it is important to discuss the different meanings of liberation for men and women and they way in which Chang Yu-I was able to obtain liberation throughout her life.
Roman Polanski weaves together several aspects of literary design and film noir in his 1974 Chinatown in order to tell the film’s engaging story inspired by the California Water Wars. These include the film’s unique use of structure, constant jarring plot twists, the development and depth of the film’s many characters, and multiple symbols and motifs. Most clear of these is the film’s use of water as a motif to represent the constant power struggle between the film’s characters, and character flaws in Gittes and Evelyn that adds an element of humanity and empathy between the film and the viewer as well in addition to strengthening the depth and complexity of the relationship between the film’s main characters.
Through these, the portrayal of the complex nature of happiness is shown to contribute to the enduring value of the film through the realistic style of the film and by showing different perspectives on the same person showing the audience that different people view actions in different
Conflict resolution in Chinese societies is mainly based on Confucianism. The overriding principle of society is that the superior in a group is to be respected. When a conflict arises, Chinese will consider the nature of their relationship. Within a family structure, the superior should be obeyed, so a subordinating family member may have to be willing to sacrifice their own comfort or desire in order to maintain peace (Hwang, 1998). Sometimes a subordinating family member will simply change or forsake their original goal. In Chinese culture it is important for society to believe all is well in a family even if it is not (Hwang, 1998).
In conclusion, the story describes that life changes, and nothing stays the same throughout it. It is in the hands of the people to decide that how they want their life to be. They can make it as beautiful as they want to and they can also make it worse than it has ever been
The Six Records of a Floating Life by Shen Fu is an autobiography, majorly about Shen Fu’s love life and his marriage to Chen Yun, a smart girl he falls in love with as a child. Throughout the Six Records of a Floating Life, different situations faced by the couple can reflect to the family structure of the peasants at the time. Shen Fu was born in an official family which works for the government. Although his family was not at a very high status, they do care a lot about the reputation of the family, and they also care a lot about manners. Chen Yun, according to Shen Fu, is a very smart and well-mannered woman, she thinks a lot about Shen’s family, and always try to do her best for them. Chen Yun’s father died when she was 4 years old, which
The emotions throughout the society are shared with the individuals throughout their confusing times, and by their shared experiences. The times spent together of the characters brought the individuals closer together through the dark negative times, and through the light positive situations of society. The confusing part of peoples lives are brought together and are shown throughout the status of society. The stories of the “Encounter,” “Eveline,” and “The Dead” come together with similar experiences of situations of light and dark. The society bring the individuals closer together by shared times.
Chapter one, The Observers, in the Death of Woman Wang demonstrates the accuracy of the local historian; Feng K'o-ts'an, who compiled The Local History of T'an-ch'eng in 1673. The descriptive context of the Local History helps the reader to understand and literally penetrate into people's lives. The use of records of the earthquake of 1668, the White Lotus rising of 1622 and rebels rising vividly described by Feng the extent of suffering the people of T'an-ch'eng went through. Jonathan Spence stresses on how miserable the two-quarter of the seventeen-century were to the diminishing population of the county. The earthquake claimed the lives of nine thousand people, many others died in the White lotus rising, hunger, sickness and banditry. P'u Sung-ling's stories convey that after the loss of the wheat crops there were cases of cannibalism. On top of all of this came the slaughtering of the entire family lines by the bandits. The incredible records of women like Yao and Sun in the Local History present the reader the magnitude of savagery the bandits possessed. All of these factors led to the rise of suicides. The clarity of events Spence given to the reader is overwhelming.
...non-conformist attitudes, and in The King of Chess the chess fool defeating the old chess master symbolizes the act of the old culture being defeated by the new. The King of Trees depicts how the belief systems in revolutionary China enforced new social norms on the population. Understanding the power of the social norms that were imposed in China at this time helps the reader understand how individuality in the citizens might have been expressed as well as why the government felt threatened by such behavior. One theme in The King of Trees is that individuality is persistent despite what is socially acceptable, and understanding the concept of social norms allows one to appreciate both sides of the difficulty conforming to social norms.
...values, practices, ideals, expectations and self image joining together in order to achieve a common goal. In Yu-i’s case, the traditional Chinese community wanted to maintain ancient practices, while western oriented Chinese adults wanted to modernize the country and make it similar to the United States and Britain. In Kaysen’s case, abnormal behavior in communities resulted in admittance into the community of the mentally ill. The psychologically disturbed community wanted only to fit in, while the sane community decided that they were threats to society. Both Yu-i and Kaysen physically leave their group only to find that the community ideals have only made them better people.
In life, people experience different situations and live different realities. It is not illogical to say that the different journeys in life sometimes give us different ways of viewing the world. This was evident upon a closer examination and analysis of Wu Cheng’en’s “The Journey to the West”, and Mary Shelly “Frankenstein”, where the two main characters of the book, a Monkey and a creature, each have a different way of viewing life. The monkey see’s life as a journey that should be explored, while the creature has no way of exploring and sees life as something he cannot enjoy. In the end, what can be taken away from the works of literature is that no matter the journey taken, it is important to remember that one’s subjectivity, built on our experiences, determines reality.