Analysis Of The Film Farewell My Concubine Essay

Analysis Of The Film leave of absence My concubine - Essay ExampleThe fritter starts by illustrating how twain men, Xiaolou and Dieyi started their professional careers in Peking Opera. The two men used to bring about as in mascu seam and distaff roles. Xiahous appeared as a man on stage piece of music Dieyi as the woman. The flashback in the film from the stage performance to the Warlords era reflects how the two men met and spent the hardships of the date together (Metalluk 2004, IMDb 2011). This melodramatic film portrays the shaping of gender individualism under the barriers imposed by the destination and traditions. Many writers and commentators have commented their point of view on the identity performance and development in Farewell My Concubine however, they failed to comment on the cross- heathen impact and attraction of the film (Cheshire 1992, Tiessier 1993). Moreover, the writers have focused to the anecdotal extent only while explaining the differences related culture, society and sex. Farewell My Concubine has a significant cultural identity attached to it. The story of the film covers the Chinese era from 1927 to 1977, which is a combination of warlords domination era, encroaching(a) of Japanese Empire and the revolution in China in terms of culture. The film promotes and develops a grouchy cultural identity (Bergeson 1997). Apart from this, the film also presents a special kind of masculine have got which is presented as a male-dominated by extreme feminine characteristics. This identity is presented in the role played by Leslie Cheung as Dieyi which is the main character of the film Concubine. Along with a depressing story of homosexual marrow related to identities of masculinity and womanhood, the film also presents a tensed situation with respect to the feminine desires as expressed by Dieyi. The film portrays an interesting and complex masculine identity which offers its viewers to observe the differentiating line between mas culinity and femininity. Chinese cultural norms do not allow females to take part in Opera and henceforth, Dieyi being a man is forced to play the role of a woman on with Xiaolou. This role cum gender conflict is resolved as Dieyi decides to submit his wills and wishes for what is being demanded of him. After adopting the feminine gender on stage, Dieyi finds that he no more wants his masculinity back and learns to admit that I am by nature a girl. Performing along with his counterpart Xiaolou, the friendship relationship between the two turns into a romantic relationship in which Dieyi is seen to be more involved (Bergeson 1997, Metalluk 2004). Concubines identity performance is a fascinating seducing role apart from the original character of Dieyi. After Dieyi, the other Concubine which is revealed is in the form of Xiao Si, who is Dieyis son. The way in which the film presents femininity through the mask of femininity, allows the emotions of the characters to go beyond their res pective roles. The mask of femininity is in fact presented as incarnating the sexual desire. beyond the construction of femininity on the social frame of reference, the films masking technique displays how femininity is desired more when it is subject to an artificial image.