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The film Hero depicts one of the most culturally rich and diverse country, China. China is one of the largest countries in the world with the long profound history. It is also the most diverse country in terms of language, religion, rituals, traditions, and beliefs. The film Hero has an unusual movie theme, it repeats similar events through flashbacks and with different outcomes. The tale is about the nameless warrior and the triumph of Qin’s idea of unifying China. The king invites the warrior to honor him for defeating his three most dangerous enemies, who are often proclaimed as the unbeatable warriors. The film is a cultural description of Chinese traditions. It has expanded my understanding of Chinese culture by portraying the spectacular …show more content…
The film demonstrates the long-lasting martial arts through the sword fight between the warriors. Chinese martial arts are a unique mixture of self-defense, exercise, meditation, harmony, and self-discipline. Additionally, it uses the strength of body and brain. Each battle scene in the movie depicts that martial arts virtue peace instead of violence. It is shown in the scene, where nameless (Jet Li) is fighting with broken sword while floating on the lake and drawing a pattern with their sword. The martial arts define the styles of Chinese tradition and life of the warriors. It is one of the important aspects of Chinese culture as it is deeply imbedded in China, and it serves as a representative of the culture. It has enhanced my understanding on importance of martial arts in Chinese culture. Throughout the film ancient China’s profound history and glorious culture has displayed through various cultural elements. The martial arts, writing system, architecture all together gives an image of the Chinese culture. The developments and advanced techniques have shaped the country and stabilized the society. China has accomplished some of the greatest achievements of mankind. It had also made significant contribution to the development of advanced systems around the world. Chinese culture is very unique. All the elements presented in the film have truly strengthened my understanding of the Chinese
The film’s protagonist is Po, a panda that, from the beginning, does not appear to be capable of doing anything heroic. As in the hero myth outline stated by Leger, Po comes from a “mundane world, doing mundane things” (Seger 312). He works in his father’s noodle shop and although he admires those that practice Kung Fu, he does not have any martial arts training of his own. But Po is content with
The Cultural Revolution in China was led by Mao Zedong, due to this Liang and many others faced overwhelming obstacles in many aspects of their life such as work, family and everyday encounters, if affected everyone’s families life and education, Liang lets us experience his everyday struggles during this era, where the government determined almost every aspect of life.
As one of the earliest films to come out of communist China’s new film schools in the 1980s, director Chen Kaige’s Yellow Earth reveals much about the Chinese communist party’s interpretation of the years before 1949 (the year of the Communist victory in China). Yellow Earth takes on the appearance of Communist propaganda films as the plot and themes develop. The minimalist mise-en-scene technique effectively illustrates the activities and rituals of daily rural Chinese life throughout the film. Nowhere in the film is the effectiveness of this technique more apparent than in the final scene when Han-Han struggles against the crowd to return to Gu.
...ntly influenced more than just the expansion of the Chinese economy, it has brought in new ideas and cultures from foreign countries that have an everlasting impact on China as a whole.
The viewer sees a private eye and beautiful client. First thought, "It’s definitely another Hollywood crime drama." On the surface, Chinatown has all the elements of a film noir: the presence of a beautiful but dangerous woman, otherwise known as the femme fatale, a gritty urban setting, compositional tension (highly contrasting light and dark colors or oblique camera angles), and themes of moral ambiguity and alienation. Chinatown, however, is different. Polanski shot Chinatown with color film, and though his colors do appear especially vivid, color film precludes the contrast intensity that black and white film offers. In addition, Evelyn is not the classic femme fatale. Though Jake mistakes her for her husband’s killer at first, Mrs. Mulwray eventually emerges as the story’s most tragic victim. Yes, Chinatown for the most part conforms to the structure of film noir, but this film departs from the general genre, creating an entirely different element in which Roman Polanksi examines not only big-money corruption and its malignant obsession with money, but also larger, more human themes such as ignorance, authority, and the pervasiveness of evil.
Ever since the establishment of cinema in the early 1900s, Hollywood has continuously recreated elements of history to reenact for its future generations. In order to clearly broadcast a specific theme or message to relay to viewers around the world, Hollywood executives tend to embellish real life events, in order to provide a “fairytale” aspect to a seemingly not so “happily- ever-after” story from history. As part of this “fairytale” aspect, Hollywood tends to delegitimize as well as provide a more disrespectful and more comical version of societies and cultures in the specific time frame that the film is being set. Through the art of story telling, the movies Mulan and Kung Fu Panda, depict the two sides of Hollywood, the falsifying and mockery making of Chinese people, their society, beliefs and true events of history and that of an accurate portrayal.
Cao Xueqin’s Story of the Stone is a classic in Chinese literature, showcasing the life and exploits of the wealthy Jia clan during the feudal era. Through Cao’s depiction, the reader is afforded a glimpse into the customs and lifestyle of the time. Chinese mode of thought is depicted as it occurs in daily life, with the coexisting beliefs of Confucianism and Taoism. While the positive aspects of both ideologies are presented, Cao ultimately depicts Taoism as the paramount, essential system of belief that guides the character Bao-yu to his eventual enlightenment. As was the case in China, Cao depicts the two forms of belief existing alongside one another, and not necessarily practiced exclusively to one another.
...he repetition of history is an important component of the development of Chinese culture and society.
This differs from the characteristics of a hero in Chinese culture as many times hero’s are considered average in physical appearance and possess qualities of “morally, culturally or intellectually” (Chinese Heroism). These qualities are also used for helping the good of the family or China (Chinese Heroism). One category is a religious leader such as Confucius (Chinese Heroism). Even though some cultures do not consider a philosopher a hero in China their wisdom and teachings of being at peace has inspired many generations (Chinese Heroism). Another is a military strategist such as a warrior who uses strategies to conquer their enemy (Chinese Heroism). Furthermore a martyr and anti-heroes are also another hero in Chinese culture (Chinese Heroism). As a martyr will sacrifice themselves or an anti-hero as they did not follow the conventional route of western hero (Chinese
This analysis draws focus on the differences between Hua’s novel and Zhang’s film by juxtaposing two key themes and dual-symbolism that had changed from one format to another. The paper is broken up into two parts and begins with an introduction and analysis of Yu Hua’s novel and Zhang’s film. Finally, the second part analyzes the film and novel’s representations of two themes and symbolism that tie in with the GPCR. This paper posits that while Zhang’s film does contain many adjustments based on its adaptation, those changes were not simply a means by which he would meet the status quo, rather they were a means by which the film could become more realistic and exploits the true nature of the GPCR.
The Cultural Revolution was a revolution that had happened between 1966 and 1976 and had a great impact on China. The Cultural Revolution used to be known as the Great Proletarian Cultural Revolution but was changed after many years. The main goal of this Revolution was to preserve true communist mainly in China by purging remnants of capitalist and traditional elements from Chinese society. It was also used to re-impose Maoist which was thought as the dominant ideology within the Party. The Cultural Revolution was basically a sociopolitical movement. But it was mainly for the return of the leader, Mao Zedong, who was the leader of the revolution on and off. Which had led him to a position of power after the Great Leap Forward which paralyzed
Next, since the village is located up high in the mountains, the palace and the Kung Fu warriors training space is surrounded by nature and its beauty. Nature is a major thought in Taoism. “Manifest plainness, embrace simplicity, reduce selfishness, have few desires” (Lau Tzu). The palace is in a secluded area and a plain design that is simple just as the teachings of Lau Tzu says to have in order to be a tru...
The movie is essentially a series of flash back. The movie begins with a prison train full of war criminals going to a prison in 1950s Manchuria. Piyu took the throne from the empress when he was three years old. He was treated above everyone else this is apparent when he met his brother at ten and later at fifteen when he met his wife. Throughout the entire movie there is a sense of rich kid never grows up and cannot fend for himself. Even in his forties when he is delivered to the prison-camp he cannot even tie his shoes. Arranged marriages is an evident tradition in Confucian culture. The changing China from Imperialism to a republic is portrayed well. One example of the revolution was Reginald, the tutor going to the Forbidden City and the car is surrounded by revolutionaries gathering outside the walls of the Forbidden City.
“Heroism”. I think this is what I learned in the American film's culture. In the past the heroes were likes revolutionary heroes. They have a big contribution to country or people, but what was once an act of rare heroism is now sort of common? For example, in the Avengers films, there are so many heroes and those heroes are not real people, but they make people have belief in heroes and the American government can solve any issues. At the end of films we always see crowds of people line the streets to welcome their superhero. This is very amusing in American film culture and evil can never prevail over good, yet in Asia films, there are full of the fraud, stealing from thieves or betray, special in Hong Kong. They don’t want the hero always win.
The Great Proletarian Cultural Revolution, beginning as a campaign targeted at removing Chairman Mao Zedong's political opponents, was a time when practically every aspect of Chinese society was in pandemonium. From 1966 through 1969, Mao encouraged revolutionary committees, including the red guards, to take power from the Chinese Communist party authorities of the state. The Red Guards, the majority being young adults, rose up against their teachers, parents, and neighbors. Following Mao and his ideas, The Red Guard's main goal was to eliminate all remnants of the old culture in China. They were the 'frontline implementers' who produced havoc, used bloody force, punished supposed 'counter revolutionists', and overthrew government officials, all in order to support their 'beloved leader'.