With reference to your notes on the opening of House of Flying Daggers, compose a 1500 word essay on the opening sequence
House of flying dagger is set during the Tang Dynasty in imperialist China. The group ‘The House of Flying Daggers’ are rebels fighting against the corrupt military and government. This film is of the Wuxia genre, focusing on traditional Chinese martial arts, as well as incorporating a romance sub-genre. This explores socio-political contexts of the time period and the relationship between Mei, Leo and Jin. In the opening sequence of House of Flying Daggers, we are introduced to the main Characters Mei, Leo and Jin. In the sequence Jin has been instructed by Leo to go to the Peony Pavilion as part of a government attempt to overpower the House of Flying Daggers to meet Mei. After getting drunk and sexually assaulting Mei, Jin gets arrested and Leo challenges Mei to the echo game.
In terms of how cinematography is used in the opening sequence to make meaning and generate response is through the use of a high contrasting high key lighting and saturated colour palette, drawing attention to Yimou’s emphasised bold colour palette. Camera movement is also significant through its use of tracing shots and camera fluidity. For example as Mei dances and sings the camera continually flows with her, mimicking the smoothness of the dance and elegance of how it is performed. This however the fluidity is interrupted as the camera becomes shaky and jarring, disturbed by the chaos of the sexual assault scene. During this scene the camera angle constantly changes, switching to a Dutch angle to give a sense of disorientation and panic as well as the fact that the camera changes perspective to become immersed in the crowd trying to help Mei.
In terms of mise en scene within the opening sequence, we are shown reoccurring motifs, for example the repetition of the butterfly. The use of the butterfly acts as a symbol of femininity, suggesting Mei is delicate and gentle, yet also has the ability to change. This could be used to symbolise new life and a second chance, bringing hope to Mei’s character for a chance to start again. The use of butterflies and the repetition of floral patterns foreshadows Mei’s connection with nature, linking to the House of Flying Daggers and changing seasons. Similarly, the Lotus seed is significant in the echo game scene as it symbolises a full wallet and wealth in Chinese culture, linking to the high-class architecture and setting.
In terms of sound, we hear a conflict between the delicate tune of Mei’s singing which is opposed by Jinn’s intentionally out of tune and out of time voice, creating a sense of chaos within the intimacy of the song. The song lyrics foreshadow the House of Flying Daggers as Mei refers to the ‘north’, making the song lyrics hold political relevance to the Tang Dynasty. Within the opening scene we hear diegetic close sonic perspective of traditional Chinese music, like string music, drums and the flute. This is reminiscent of the Tang Dynasty as during the golden era the use of these instruments was seen as culturally significant in introducing different forms of art and culture from around Asia to China. Later in the scene this is interrupted by the sexual assault scene, adding to the sense of chaos and unnerve.
Next, editing is used in the opening sequence to make meaning and generate response as the film uses minimal cuts during Mei’s dance scene to show long flowing takes, giving a sense of tranquility and peace. However the cutting rate increases as the intensity increases as Mei is sexually assaulted and during the echo game scene to suggest chaos and disorder taking place, and make a jarring experience for the spectator. During the echo scene we also see a repetition of editing in a montage sequence. Slow motion is used throughout the opening sequences, for example as Jin takes off Mei’s robe and as the camera tracks the lotus seed hitting the drums. This emphasises the importance of the gender roles between Mei and Jin, linking to social contexts.
In terms of performance in the opening sequence, Jin appears as rude and disrespectful towards Mei and the women at the Peony Pavilion. For example, he points and laughs at the women playing tug of war, uses his foot to stop Mei and throws the payment on the floor in an animalistic and impolite nature. Contrastingly Mei is presented as strong and resilient towards Jin and Leo, however at the same time is sexualised foe what she wears and looks like performing for Jin to flatter his ego as he watches her. For example, she shows resilience by accepting Leo’s challenge to play the echo game, as well as challenging Jin for being subjective towards her blind disability.
In terms of how gender is represented in the opening sequence of House of Flying Daggers, there is a binary opposition between men and women, subverting typical gender roles and stereotypes. Mei is individualised as a strong and resilient female protagonist, however, is also sexualised as the subject of the scene. In the scene we see that Mei has to perform for Jin and Leo in order to prove herself. Within this women are represented to perform to flatter the male ego, being sexualised for their beauty, thus alternatively presenting Mei as submissive towards Jin. Also, in terms of the way women are presented, linking to one of the common themes throughout, there is a strong concept of sisterhood amongst the women at the Peony Pavilion as Mei is being attacked by Jin. In this scene the women rush to help Mei, suggesting a strong community where everyone supports one another. In the opening sequence it could be said that the men, including Jin and Leo, show a negative representation of corrupt masculinity. In the scene Jin wants to showcase his power by being in control, for example as he uses his foot to stop Mei from walking appearing rude and disrespectful, as well as how he uses his sword to stroke Mei’s jaw and uses it to undress her. Jin’s sword could be seen as a masculine phallic symbol and acts as a visual metaphor for the power imbalance. This links to how men and women are presented in a targeted critique of modern society surrounding rape culture. For example, Leo accuses Mei of being indecently dressed, blaming the women to be at fault but also the victim. In this scene Jin is only punished for being drunk and not for the sexual assault against Mei.
Zhang Yimou’s in known for being a fifth-generation Chinese film maker, which brought increased popularity to Chinese cinema abroad, especially among Western arthouse audiences. This style of film making goes against traditional ideological Chinese storytelling and focuses on local culture. In House of Flying Daggers Yimou pays homage to the history of Chinese martial arts films, Wuxia. In terms of Yimou’s aesthetics, which could make him be considered as an auteur, he is known for his unique use of colour, cinematography, literary adaptions and themes of oppression and social criticism. However, states that House of Flying Daggers is ‘not political’, thus avoiding direct political issues and appeals more to his western audiences. Similarly, to what we see in House of Flying Daggers, Yimou explores colour, emphasising the use of impressionist ‘free form’ style, meaning his can be seen as unique and not conformed to the typical style of Chinese cinema. Zhang Yimou’s films have reoccurring narrative features, for example his use of tragic heroes like Mei in which they wither die or suffer a great loss. Similarly, Yimou portrays the empowerment of women against traditional social norms, like Mei rebelling against Jinn and Leo. Zhang Yimou’s films also often seen as critical of the Chinese government and politics, as well as social criticism towards society and especially communism.
In terms of social, political and cultural contexts, House of Flying Daggers was set during the Tang Imperialist dynasty AD859 and is said to be an allegory for modern china and apology for modern Chinese imperialism. Although Zhang Yimou claimed the film was ‘not political’, House of Flying Daggers represents a political and social criticism of the current Chinese government and society hidden behind the story of the Tang Dynasty time period. The film comments on communism in China and challenges gender stereotypes. In terms of cultural contexts, the Tang Dynasty was considered a golden age of Chinese arts, with people from all over Asia bringing ideas and culture to China. This was referred to as the first wave of globalisation as China experienced a large economic growth during this time period. The Tang Dynasty followed an open policy, and this attracted many foreign people to this land of art and culture. As seen in House of Flying Daggers, musical instruments were popular during this time, specifically flutes and drums. This was the time when western art forms, music and dance, influenced China from Central Asia. Zhang Yimou wanted visually arresting representations that were embedded in Chinese culture, referring the commercial film as an art form.
In conclusion Zhang Yimou uses aesthetics and colour to emphasise the cultural and artistic significance in the emergence of the Tang Dynasty, presenting bold colours, architecture and setting. This therefore draws importance to this time period as it is well remembered for the era’s contributions to poetry, painting, pottery and music, partly the result of Xuanzong’s creation of an academy for poets. As well as this the film holds great political and social significance, linking not just to the opening scene but the film as a whole. This is important as Yimou presents his audience with a strong critique of China now and then during the imperialist Dynasty. This film could also be seen as culturally significant as it reverses gender stereotypes, showing in the way women are represented as strong female leaders and warriors within the House of Flying Daggers.
Emma Coe Film Studies 