Red Sorghum
Claire Huot China’s New Cultural Scene
The film Red Sorghum was one of the most popular Fifth Generation films in China and Abroad. As an adolescent American kid, probably the average, I got to see a new perspective of China through this class. I wanted to compare the West’s interpretation with Chinas’. One of the first things I did was compare Chinese cinema to well known American cinema.
Zhang Yimou’s first film as director, Red Sorghum was immensely popular at home and abroad. The film follows a popular novel with its point of view; an off-stage, present-day male narrator whose own life is ancient and minute compared to the family he was grateful to have been associated with. Compared to a classic American Movie this is very much the same. The movie I am talking about is Legends of the fall. In almost the exact same way this movie was made. An older Indian gentleman begins to tell the story he lived. He grew up in a great family, with great traditions. Then he narrates the tale of a family and its struggles through love, war, bitterness, and bad times. Its starts with that voice, on a blank screen: “I will tell you the story of my grandpa and grandma…” In LOTF an older Indian man starts telling the story of “Tristan’s stormy birth” We then see the hero at a very young age, fighting a bear. In Red Sorghum instead of the expected old granny, we see a beautiful, twenty-something woman who, looks very attractive.
When Nine arrives at the distillery and rallies all the men together to work, its comparable to the first time Susanna arrives at the ranch. Run by mostly men, she has some women, but the men all look at her with admiration. Right away Tristan is taken to her. When she is out riding and lassoing the cow, is like Nine rounding up the Sorghum to work. Tristan automatically chases a nearby Mustang and catches it. Much like Grandpa catching the first “thief” on the travel through the sorghum fields. He comes back with a mustang, and Grandpa now has Nine’s appreciation.
There are many script similarities, and cut similarities between these two films, yet LOTF has a more comprehensive plot, to me. Maybe its loses something in the sub-titles, that I don’t find it as intriguing as American Cinema.
One script point in particular in LOTF is the fact that the father was a former military chief, and he left that “madness” for a more peaceful life.
There are few similarities between the book and the movie. Usually most movies are similar to
The phrase “history repeats itself is quite evident in this film. Currently, China’s economy is in a massive industrial revolution, similar to the American industrial revolution of the early 19th century. After three years of following the Zhang family, first time director Lixin Fan released The Last Train Home, attempting to raise awareness to the down side of China’s powerful economy. While the film The Last Train Home seems to just depict the lives of factory workers, it is also making a political statement about how western capitalism exploits factory workers to produce cheap goods. The film makes this exploitation evident by depicting the fracturing of the Zhang family and the harsh working conditions they must endure.
The Sun of the Revolution by Liang Heng, is intriguing and vivid, and gives us a complex and compelling perspective on Chines culture during a confusing time period. We get the opportunity to learn the story of a young man with a promising future, but an unpleasant childhood. Liang Heng was exposed to every aspect of the Cultural Revolution in China, and shares his experiences with us, since the book is written from Liang perspective, we do not have a biased opinion from an elite member in the Chinese society nor the poor we get an honest opinion from the People’s Republic of China. Liang only had the fortunate opportunity of expressing these events due his relationship with his wife, An American woman whom helps him write the book. When Liang Heng and Judy Shapiro fell in love in China during 1979, they weren’t just a rarity they were both pioneers at a time when the idea of marriages between foreigners and Chinese were still unacceptable in society.
...ome to us at an interesting time, before the Revolution, 40 percent of Tehran movie theaters were showing pornography. The function of this office is purification as well as promotion for the arts.” The first part notions the Western stereotype of the Orient since the same as the time when it was discovered, but now the people of the Orient realize the stereotypes and are changing the way they see themselves because of these stereotypes. It is only by correcting these assumptions, stereotypes, and misconceptions of the Orient at the heart of society today, the media can Orientalism be fixed. The Eastern people must be allowed to sympathize in movies and films to humanize them and have intimate interactions. Otherwise, the Orient will be continued to be known incorrectly as a place with people who are without reason, screaming, protesting, and in swarming mobs.
Once a successful novel hits the market, producers are inclined to adapt the story into a movie. Since imagination, symbolism, and character psyches are explored in a novel, the movies tend to lack the luster of the original text. Using their imagination, readers are able to conjure up characters and scenes that are unique. This is the case with Tim O’Brien’s, “Sweetheart of the Song Tra Bong.” This is a story where love and war collide after a soldier brings his sweetheart to his Vietnamese post. On the whole, this chapter in The Things They Carried is far superior to the film, The Soldier’s Sweetheart, because it has thorough descriptions of characters’ feelings, including symbolism concerning objects and important events. When the audience is able to draw it's own story around an author's narrative, the experience is more satisfying than when every detail is presented through the cinematic medium - an active audience is happier than a passive one.
Mao’s Last Dancer, directed by Bruce Beresford, is driven by Li’s experiences in the clash between American and Chinese culture and the journey to discovering his own identity. Through Li’s eyes this film shows us his search for identity which can sometimes be helped or hindered by the difference in cultures. These themes are shown during the film through the use of Symbolic, Written, Audio and Technical conventions (SWAT).
Overall, the movie and book have many differences and similarities, some more important than others. The story still is clear without many scenes from the book, but the movie would have more thought in it.
Jonathan Spence tells his readers of how Mao Zedong was a remarkable man to say the very least. He grew up a poor farm boy from a small rural town in Shaoshan, China. Mao was originally fated to be a farmer just as his father was. It was by chance that his young wife passed away and he was permitted to continue his education which he valued so greatly. Mao matured in a China that was undergoing a threat from foreign businesses and an unruly class of young people who wanted modernization. Throughout his school years and beyond Mao watched as the nation he lived in continued to change with the immense number of youth who began to westernize. Yet in classes he learned classical Chinese literature, poems, and history. Mao also attained a thorough knowledge of the modern and Western world. This great struggle between modern and classical Chinese is what can be attributed to most of the unrest in China during this time period. His education, determination and infectious personalit...
The American film industry’s early attempts at the narrative Western were limited and in the early years were produced mainly in the east. During this early time in the film industry the...
Mimura, Glen M. "What Is Asian American Cinema." Introduction. Ghostlife of Third Cinema: Asian American Film and Video. Minneapolis: University of Minnesota, 2009. N. pag. Pdf.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
Modernization in the 1980s paved the way for the Hong Kong New Wave, as the studio system set up in the 1950s was dismantled, the film industry experienced more freedom. Since decolonization was heavily present 75% of Hong Kong’s box office revenue were home grown movies, while the meager 15% was left for the foreign market. As one can see the political context of Ho...
McDonald, Keiko I. Cinema East: A Critical Study of Major Japanese Films. Rutherford, NJ: Fairleigh Dickinson Press, 1983.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Sorghum bicolor (L.), often referred to as grain sorghum, is a grain of global importance (Anderson et al. 1949), because it is a rich source for food, feed, and fuel (Wang et al. 2008). Sorghum ranks fifth in the world for produced cereal crops. In areas that are frost-free, grain sorghum is a very important and economical crop. Sorghum was introduced in North America from the tropical regions of Africa in 1853. It is a very hardy crop that can grow in very tough environments. Sorghum is mainly planted in regions around that world that experience hot and dry conditions. In areas where corn is not very adapted, sweet sorghum is often a better alternative renewal fuel source (SSEA 2014). Sorghum acres have increased over the past 50 years, and the worldwide area of sorghum being planted has risen to 66% (Stroade et al. 2013). The southern US sorghum production often has damage occur from the sorghum headworm complex that consist of two larval pests that included: the corn earworm, Helicoverpa zea, and the fall armyworm, Spodoptera frugiperda (Teetes et al. 2000).