The Blue Kite by Tian Zhuangzhuang - Essay Example

?Introduction The ability to convey a dramatic message is the basis of most films. The expression that is created is based on an emotional response that can be used to provide insight to the audience about a given situation. In “The Blue Kite” directed by Tian Zhuangzhuang, there are several dramatic accounts that relate to the revolutions in China during the 1950s and 1960s. The theme which the director conveys is based on the opposition of the past and the ability to move into an uncertain future. The scenes which are created are able to convey the changes that are occurring during this time while building an emotional response to the political movements, such as the Hundred Flowers Campaign and Cultural Revolution. These significant historical events are used to tie together the overall dramatic expression of the time while showing the debates that were a part of Beijing in the 1950s. Shot – by – Shot Analysis The scene which shows the historical and dramatic features most is in the climax and end portion. This begins with the soldiers that are surrounding Tietou’s father. The scene begins with a close up shot of glasses being knocked onto the ground then leads into a symbol of the new army of China. This is surrounded by voices that are shouting for Tietou’s father to get up. A close shot then moves into Tietou’s father, who is passed out then immediately zooms out to show the soldiers, all as children, who are surrounding him. The camera stays in this same position with a girl who continues to hit the father combined with the soldiers pushing the father. The noise, quick zooms and subject matter shown combines to show the drama of the situation while combining the political upheaval of the situation within this one section. The change occurs with a close up zoom to the soldiers that are on one side with the statement to get a stretcher. The camera then goes back and forth between close ups of the soldiers and of the father who is still being beaten and pushed. The scene changes to a close up of Tietou’s mom who is outside by a tree. The scene changes by showing her walk into the building after hearing shouting from the street. The scene continues by a zoom out of an aisle with soldiers on each side and her walking in the middle. A close up is shown of her pushing to tell the soldiers to stop because of his heart failure. The shouting at this point stops to listen to her; however, it quickly changes when a political statement is made about counter – revolutionary. This again heightens the tension of the scene, specifically with the political term used and the movement from the close up of his wife to the soldiers surrounding the area. The scene then changes to show the soldiers carrying his father down the steps in a stretcher and each soldier pushing the other. The drama heightens when the soldiers move to the streets and begin shouting “Down with Wu Leishing.” A close up is shown of the man who is now unconscious then moves into the soldiers shouting. The wife is shown as being pushed by the soldiers, then is followed by Tietou coming in and pushing toward his father then his mother. The camera stays with a mid – zoom to show the boy running into the soldiers; however, it doesn’t show the heads of the soldiers. The perspective is one of the little boy as he runs to find his parents. The pushing moves to a close up shot of the boy being pushed and of close ups of his mother trying to meet him. This is combined with the yelling with “mom” being heard over the other shots and with the mom’s expression going to her son as she is slapped by the soldiers. Music starts at this point to highlight the drama of the mother and son being torn apart by the soldiers. As the music continues, the soldiers state to beat him to death, throw him on the ground and leave. A close up shot is shown of Tietou glancing up to get his mother, than going to find a piece of wood and to run after the soldiers. The music continues in the back with close up angles. The highlight of this part is shown with the boy hitting the soldier on the head and is shown with the lighting changing so it glances up toward the sun, as opposed to being at a downward angle to show the surrounding of soldiers. This short highlight of the light then moves back to the same camera angle of the boy’s perspective as he is beaten with the dust being the close up shot. The close - up then shows Tietou lying on the ground and looking up at a blue kite. The music has stopped; however, as he lies on the ground, the narration comes in to tell how he has lost his mother and father. This is followed by the end folk song about a crow waiting for his mother to eat sung by a child. This ends the dramatic effect by showing the drama and sorrow of the revolution and how it separated families because of the political beliefs. At the same time, it shows a question of the future as the family is torn apart. Form Analysis The form which is followed with this particular scene is essential in understanding the dramatic form to highlight the overall ideologies. The first concept that is associated with the form is the highlighting of characters. The characters are first defined with the personal zooms and close – ups of the camera, specifically which highlights Tietou’s family being beaten and taken away. This is combined with the camera shots that are unclear and show the soldiers that are on the other side. The form that is used shows the personal characters battling the system of the soldiers and the idea of the counter – revolution. This main component is used to describe the political understanding and to create a dramatic effect through the personal associations through the zoom in of the camera. The second aspect of form is based on the actions taken during this segment. There are only five main actions taken. The first is the questioning of Wu, followed by his wife coming in. The second is taking Wu to the street where the soldiers begin to shout. The third is deciding to arrest the mother and the interference of the child. The fourth is the beating of the child who then loses his parents. The fifth is the ending where the child is alone looking at the kite. Each of these pieces of the form are essential because it creates a sense of tension that moves from the personal narration being the main focus while the surrounding soldiers and political movement are pushing the events forward, even though they are not highlighted. The theme which is shown from this form is based on creating a personal relationship and showing how the movements which were taking place in China during this time were destroying what most understood or new without just cause. The director is then able to show the point by highlighting the smaller actions and highlighting the relationships being torn apart by the government. Attribution The direction and the various parts of the movie were first written by Mao Xiao and directed by Tian Zhuangzhuang. The director is considered as a fifth generation Chinese, meaning that there is an understanding of the divisions created throughout China before and after the revolution. This occurred specifically through family ties and traditions which were a part of the time frame. This was followed by the concept of showing the minority in films, which Zhuangzhuang was particularly interested in. The main ideology was to create a narration of those which were lost from the crowd, and which didn’t have a place for voice during the political and social changes which were occurring during the time. It was also a space which was developed as a specific reaction to how the smaller lands surrounding China were often lost to the strength of the political movements. The understanding which Zhuangzhuang had of these concepts led to the main attributes in the film, specifically as it was told by a boy and which highlighted the silence of the voices and the loss of personal relationships that were the minority throughout the film (Gladney, 161). Extratextuality Another part of the drama that is added into the film comes from the genre and how this links to the history and politics of the time. The genre is considered as New Chinese films; however, it moves into the dramatic genre as well and one which depicts international ideologies. The history is based on one of the international events known to most as well as the dramatic features which were associated with the counter – revolution and the several events which took place in the 1950s and 1960s, including the Cultural Revolution and Hundred Flowers Campaign. These specific concepts were associated with the rise of the Communist Party and the fall of the traditional aspects of Chinese government. This was significant because there were several which opposed the concept; however, they were unable to have a voice in society. The oppression of freedom and the destruction of family life became the main themes which were known from the historical movement which occurred (Nielsen, 83). These themes are noted throughout Zhuangzhuang’s film, specifically with his opposition to the politics that occurred and how this affected the minorities which opposed the situation which had occurred. Interpretation The making of ‘The Blue Kite” creates a strong and personalized interpretation of what occurred in the 1950s and 1960s during the Communist Regime. The importance is one which delves into the understanding of the Fifth Cinema that Zhuangzhuang was a part of, specifically which was interested in creating a voice for those that were repressed. This is combined with the main themes that are understood by those that opposed the movement, specifically with the oppression of freedom and the destruction of family. These themes are used as the basis of the movie and are defined in creating a sense of drama and tension throughout the film. The point and main theme is then shown, as well as a dramatic and expressive interpretation of how the changes in politics also destroyed the personal lives and the generational links which were a part of China. The importance of the director interpretation, as well as the beliefs of the culture, is seen with the one segment that is chosen. In this particular segment, one can see a family being torn apart as well as a loss of freedom that takes place among Tiataou. The way in which the techniques work with the film highlight this by making the family important and making the soldiers a part of a chaotic mob that surrounds the situation. One can easily see the opposition to the Communist Regime as well as how this created tension and a lack of understanding during this time. One immediately takes sympathy to those who were a part of the counter – revolution while understanding that the change in powers also caused the innocence of China to be lost. The blue kite shown at the end is torn and stuck in a tree which further emphasizes this loss of emphasis followed by the folk song of the crow waiting for its mother. The impact of these elements becomes the main dramatic feature to show the pain which the revolution caused and how it created destruction to the lost voices that were a part of China. Conclusion The concept of “The Blue Kite” is one which establishes deeper meanings and dramatic elements throughout the story. When looking at the interpretations of this particular film, it can be seen that the director is able to portray a specific perspective about the historical event and the responses to the political changes which occurred. The series of events which occur in the climatic scene and at the end show the drama of this particular time frame and creates an understanding by associating the tensions of the politics with the loss of family. In one scene, the director is able to establish emotional associations with the event, sympathy against the Communist Regime and an understanding of the themes which opposed the political revolution that took place, specifically with the freedom and loss of family that was a part of China at the time. Showing these in dramatic features emphasizes the main point and gives a voice to one specific situation with a different approach. Works Cited Gladney, Dru. “Tian Zhuangzhuang, The Fifth Generation, and Minority Films in China.” Public Culture 8 (1), 1995. Nielsen, Hanna. “The Three Father Figures in Tian Zhuangzhuang’s Film the Blue Kite.” China Information 13 (4), 1999. Zhuangzhuang, Tian (dir). The Blue Kite. China: Longwick Film, 1993. Read More