Component 2: Global Filmmaking Perspectives.
Section A Global Film. Group 2: Outside Europe.
House of Flying Daggers (Zhang, China, 2004): Contexts, Style, Audience.
Write at least 200 word answers to each of the following questions, supported with direct reference to the film:
- How might you describe Zhang Yimou’s visual style or aesthetic?
Zhang Yimou’s visual style and aesthetic is shown through his unique use of colour, cinematography and setting. Yimou explores colour in a unique way that emphasises the use of the impressionist ‘free from’ style, which is not conformed to the typical style of Chinese cinema. Yimou also uses reoccurring motifs such as deception, false identity as well as themes like oppression and social criticism, which could make him be considered an auteur. An example where we see the theme deception in House of Flying Daggers is through the character’s hidden intentions and true identities. In the film Leo appears to be an imperial soldier but is really a mole and Mei pretends to be blind. In terms of visual aesthetics, a critic has said, ‘the true stars are the sets, costumes, and scenery, a breath-taking banquet of colours and textures filmed with rapturous affection by cinematographer Xiaoding Zhao.’ This is typical of Zhang Yimou’s visual style as the use of colour, for example in the ending sequence, is said to be ‘reminiscent of the swirling yellow leaves Zhang turned blood red at the end of a fight sequence in Hero,’ suggesting how he has a reoccurring aesthetic style throughout his films. It is thought that Zhang Yimou’s previous film ‘Hero was an experiment, House of Flying Daggers’ is the real thing,’ given the two film hold a lot in common in terms of their visual style. As well as this Yimou pays homage to the history of Chinese martial arts films known as ‘Wuxia’ as it is said ‘swords, magic, fantasy and the supernatural are central to wuxia mythology.’ Within the film Yimou ‘blurs the line between dance and combat,’ as ‘Zhang stages the confrontation in a much more aestheticized way — through music, dance, colour and design — than is usual.’
- What is significant about Zhang as a Chinese filmmaker, the themes of House of Flying Daggers and its production context (contemporary Chinese Film Industry)
Zhnag Yimou is known for being a fifth-generation Chinese film maker, this style of film going against traditional Chinese storytelling and focusing to appealing to a western audience due to the increased popularity for Chinese cinema abroad. Zhang Yimou was a graduate from the Bejing Film Academy where he began as a cinematographer and moved on to directing films about Chinese life, particularly that of women. Zhang Yimou has called cinema “an excellent channel for promoting China’s culture” with “cultural and historical information” for Western audiences. However, he has been accused of “selling Oriental exoticism” and received criticism that his version of China “feeds his Western audience’s image of exotic, primitive, timeless China” Zhang described House of Flying Daggers as ‘not an ordinary martial arts film, but a love story inserted into an action movie.’ It is said that the film shows ‘basic hardness and rigor that marks it as northern rather than southern Chinese in flavour, however much the colourful lensing by Zhao Xiaoding’ showing Zhang’s background as a fifth-generation film maker, going against typical Chinese film traditions in order to appeal to a western audience. Linking this to production contexts, it is said that ‘Studio interiors, in Beijing, are smaller in scale than in “Hero,” with only one standout, the ornately coloured, circular Peony Pavilion set.’ Half the world’s films are produced on the continent of Asia, the 3 Chinese cinemas of Mainland China, Hong Kong and Taiwan all having large film industries. Success of Chinese global filmmaking. The industry has invested in digital cinema and the revival of Chinese language films.
- What common criticisms are there of the film? What are seen as it’s strengths?
House of Flying Daggers received mixed reviews upon its release, one of its main criticisms being about the mix of the traditional martial arts genre and the romance genre, leaving its political and social commentary having ‘faded far into the background.’ Similarly, a critic has said ‘As great a relief as it is after the ugly moral of Hero, the tragic-romantic conclusion of House of Flying Daggers still falls flat,’ as well as the critique ‘it may simply be an issue of awkward cultural translation, it nonetheless makes it hard to empathize too deeply with the characters’ loves and losses.’ This suggests how the film may have been negatively received from a Chinese audience, given that it goes against the traditions of the Wuxia genre and targets more of a western audience, thus emphasising romance genre in the film and therefore appealing to a larger a global audience than a typical martial arts film would. On the other hand, in terms of positive critic reviews that feature the films strengths, it is said that the ‘Dialogue between the characters is also functional rather than inspired,’ as well as the fact that ‘the action set pieces really are the core of “Daggers,” and these hit the mark with eye-popping accuracy and sonic elan.’ This compliments Zhang Yimou’s visual style and use of aesthetics, showing his use of mise en scene and cinematography to be a big part of the film’s strengths, while critiquing his use of narrative and chosen genre of the film.
- How are men and women represented in the film?
In terms of historical contexts, it is said that during the Tang Dynasty ‘the courtesans were known to dominate conversation with elite men. The ladies were not afraid to openly castigate or criticize prominent male guests who talked too much or whose rude behaviour had in some way ruined dinner for everyone. Men enjoyed the presence of assertive, active women.’ This is shown through Yimou’s representation of women in the film, focusing on their strength and power presented through Mei as the female protagonist. Within this, House of Flying Daggers subverts typical gender roles and stereotypes, as Mei is shown as a strong and resilient female as she comes to fight with Jin and Leo. As well as this in the opening sequence we see a strong concept of sisterhood amongst the women at the Peony Pavilion as Mei is sexually attacked by Jin. ‘In Peking Opera all roles originally played by men. Strong female characters central to the tradition of wuxia. They fight with swords and take part in combat. In the Flying Daggers the leaders are now women. Mei demonstrates female sexual power.’ Opposing this statement, it could be argued that Mei is sexualised for the entertainment of Jin and Leo as she is told to dance and perform for them, as well as the fact that Mei is sexually assaulted several times by both men. In terms of male representation in the film, Jin is seen as rude and hyper-masculine, similar to Leo who ignores the sexual assault in the opening sequence and continues to sexualise Mei, linking to the critique of modern society surrounding rape culture. However, in the ending of the film it is said by a critic that ‘Male and female passion is subject to tradition and duty. Male characters are ‘Just pawns on the chessboard”. The concluding fight to the death between Leo and Jin is about honour as well as jealousy.’
- House of Flying Daggers can be seen as a love triangle film in a wuxia genre set in a specific political/historical context. What is peculiar about how this plot and setting is explored in the film?
The wuxia genre is traditional to Chinese storytelling, found in North Chinese Mandarin culture after the 9th century. This genre focuses on martial arts in ancient china, in which requires wuxia hero’s to right wrong and fight for righteousness in order to remove oppressors and defend against corrupt leaders. Zhang Yimou has success with wuxia films after there was a globe in cinema for ‘ethnic cultural elements and lustrous visuals.’ House of Flying Daggers could be seen as peculiar due to the love triangle within the plot. The romance genre is not typically associated with Chinese storytelling and is used in this film to appeal to western audiences. It is said that ‘House of Flying Daggers is also about imperial rule and rebellion, by its conclusion politics have faded far into the background.’ The plot of the film focuses on the imperialist rule during the Tang Dynasty and the empowerment of women commenting on political and social contexts, however is also deeply rooted by the narrative surrounding the love affair between Mei, Jin and Leo, which Chinese audiences may not expect to find. In the wuxia genre it is common that the hero of the story would face a final showdown between him (usually being male) and his enemies. This is demonstrated in the ending sequence as we see a western style showdown between Jin and Leo over Mei, which is more familiar in western culture. The fact that House of Flying Daggers centres the plot around Mei as the hero incorporates the wuxia genre while simultaneously going against it by surrounding the plot around a female character and the romance genre.
- How accurate are the depictions of life in the Tang Dynasty? Why might we question the authenticity of these representations? Provide examples and evaluate.
When referring to the Tang Dynasty it is said that ‘Culture and civilization flourished – literature and poetry painting, commerce, as well as science and innovation. Bordellos of the time were places of beauty and artistic expression. The head mistresses of bordellos had wealth and power. Courtesans were intelligent, artful singers and poets who entertained guests with their skills and conversation.’ This is seen specifically using mise en scene in the Peoney Pavillion as we see a great range of colours and paintings to give the impression of wealth and luxury, typical of the ‘golden age’ of the Tang Dynasty. A critic has said that the setting and costumes ‘all are assembled with a care that suggests the authentic and the mythic in equal measure.’ In terms of representation, it is said that during the Tang Dynasty ‘Men enjoyed the presence of assertive, active women.’ This could be seen in the opening sequence as Mei performs a dance to Jin and takes part in the echo game to prove herself to Leo. This however is contrasted and could be argued to not be an accurate depiction of life in the Tang Dynasty as Mei is assaulted and sexualised for her performance rather than respected. However, there is a strong representation of the power women have, being that the leader of the House of Flying Daggers is a woman, and we see Mei as a strong female protagonist, keeping to traditions seen during the Tang Dynasty.
- Why might the depiction of a heroic rebellion against the Tang Dynasty be a surprising production from one of China’s largest film producers?
In terms of the style of fifth generation film making, it is said that ‘China was the subject of their films, although very different view of China than the socialist realism of Mao before the Cultural Revolution.’ Zhang’s earlier films were often criticised by the government for their treatment of the realities of social life in China. House of Flying Daggers 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. This is surprising as the film promotes rebellion against a corrupt government, possibly acting as a metaphor for the state of modern China, linking similarities between the historical contexts and the current government. This is surprising as China is a communist state meaning things such as films and TV and are under censorship and would not be released if it was made obvious that the government is being criticised in a prominently political and ideological based film.
- How might domestic, East Asian and audiences from around the world respond differently to ‘House of Flying Daggers’?
A critic has said that, ‘basic hardness and rigor that marks it as northern rather than southern Chinese in flavour, however much the colourful lensing by Zhao Xiaoding’. East Asian audiences may respond differently to global audiences as House of Flying Daggers combines the typical Chinese storytelling art form of the wuxia genre with the romance genre, therefore not appearing loyal to traditional Chinese cinema. This could cause a negative reaction to Asian audiences as this is different from what is usually seen from a large film company. On the other hand, audiences from around the world, particularly western audiences, would see the combination of combat sequences with the romance genre as a common trait of western cinema culture, appealing to a wider global audience rather than its domestic audience.
Emma Coe Film Studies 