Displacement Approach in Chinese Films - Research Paper Example

Long Chen CHNS 490 4/25/2015 Research Paper Draft Displacement in Chinese Film Introduction According to oxford dictionary, displacement refers to the act of moving something from a particular place and positioning it to another place. Displacement in literature and cultural studies is the act pushing away traditional and common values and adding new values occupying hence eliminating the former. Displacement theory is evident and practical in various Chinese movies. Displacement is evident in the films where directors shift from the traditional approach to movie making and start adopting contemporary approaches that touch and discuss the contemporary issues affecting the society. For example, Ann Hu tries to hold the bull by its horns through introducing the shadow magic. It is time for people to move away from traditional outlook of film as subsidiary form of entertainment that only involves live mimicry and stage performance. Film making should create a platform for entertainment as well as airing out issues of concern. Similarly, Jia Zhangke manages to employ film to highlight important issues that affect people and especially the youths in the post Mao-era. National collectivism and individual fortunes are among the issues that Zhangke highlights the film. Absolute displacement prompts Chinese movie censorship association to deny him permit to broadcast it China despite being the best market for films today. Therefore, displacement features evident in many movies today. Continuous application of theme of the displacement as a major concern will boost the film industry in China (Farquhar 78)It will create avenue of shaping the society through eliminating conservative approaches such as communism and Confucian traditions that continue China in bondages for centuries. Research questions How has displacement approach affected films in China, especially platform (2000) by Jia Zhangke and Shadow Magic by Ann Hu (2000) in relation to atheistic, cinema syntax and politics of Chinese Film? Aims and objectives of the study To depict the impact of displacement approach in Shadow Magic by Ann Hu (2000) and Platform by Jia Zhangke (2000) To illustrate the cohesion of in Shadow Magic by Ann Hu (2000) and Platform by Jia Zhangke (2000) To provide thick description of images and scenes derived from the two films (Shadow Magic by Ann Hu (2000) and platform Jia Zhangke (2000). To demonstrate the usage of esthetics, cinema syntax, and politics of Chinese cinema in Shadow Magic by Ann Hu (2000) and Platform (2000) by Jia Zhangke Impact of displacement approach in Shadow Magic by Ann Hu (2000) and Platform by Jia Zhangke (2000) As posited above, displacement is the act of leaving the old traditions and approaches to movie making and takes a new approach. Initially, the Chinese people through drama and the entire process must only involve entertainment done is a physical setting. Ann Hu demonstrates that Chinese people did not appreciate the art of film making, as it ought to be. They did not value technology and highlighting more important issues than mere drama. The antics of Lord Tan are the best in the empire and the emergence of motion picture threats his popularity and respect that emanates from the tactics. Therefore, the act of Liu and the Briton filmmaker forming an alliance is a threat to Lord Tan who represents the conservative group. It is difficult for the conserrvatists to come to terms with new technology and more especially the Lord Tan. The opera star retorts that western music is ostentatious and lack appropriate refinement. The assertions reveals contempt and ridicule that the man bears against the intrusion of white technology that seeks to defame him (Deppman 56) when he poses in the prestigious studio for a portrait, his attitude towards technological advancement indicates a man who wants to rest in the shoulders of tradition. He is not ready to accept change, embrace, and way of life. However, displacement is stronger than any individual is and he must come to terms with change Ann Hu is the director of displacement because he transcends between the two eras. He is a young worker in the photography studio who loves the daughter of Lord Tan who goes by the name Ling. However, he is a mere poor man and he cannot afford to marry the daughter of the prestigious man. He sees the opportunity Raymond the Briton gives him as a platform to get a name and wealth that will help him marry the girl of her dream. However, he still wants to be to the Confucian tradition that asserts that people must abstain from all forms of western infiltrations (Shadow Magic). Therefore, Liu ends up in a dilemma, he want to follow his dreams to the end while at the same time he wants to abide to the Confucian traditions. In the course of interacting with Raymond, he loses his job at the photography shop the fact that gives him time to share and learn from Raymond. He learns that Raymond is a liberal and has freedom to pursue what he desires. On the other hand, Liu finds himself under emblem of traditions that are difficult to break. However, he decides to follow his heart and eventually learns about the art of film making using the soundless cameras and projectors (Shadow Magic). His desire to venture in new technology lands him on a better position because he gets an opportunity to show a film side by side with Raymond during birthday celebrations of the emperors’ daughter. The Chinese are able to see the meaning of film through seeing acrobats, images of babies, trains and other real images. The most appealing point is where people run away when they see the train on the screen (Deppman 56). They think that the train will emerge from the screen shot and hit them to death. Raymond also shows various sections of film covering people walking in the city of Beijing. Following the Chinese public scene, people end up developing a positive attitude towards the film and eventually eliminating the demonic association. The displacement approach clearly indicates that people must move from the traditional approach to film(demonic) and adopt the modern approach where film is a platform for information and entertainment(Curtin 98). The agents of conservatism especially Lord Tan are the first people to demand the death of Briton filmmaker Raymond. They do not value the occurrence as an accident but they posit that it was an agenda planned to kill the emperor daughter. However, the emperor’s daughter pardons him banishes him from China. In as much as the conservatists hinder emergence of new technology, displacement must take place and new technology must reign in china. Liu sustains injury and he is on the verge of despair when he gets various films they captured with Raymond. Through the modified projector he can the Chinese people film the fact that opens avenue in his life. Finally, his dreams come true and end up marrying Ling the daughter of Lord Tan. Therefore, displacement approach has effectively facilitated emergence of modern film through a series of actions and convictions (Shadow Magic). Similarly, Jia Zhangke has embraced displacement approach in directing the film platform 2000. It covers the issues affecting the youth in the post Mao-era and the ways through which people can overcome such issues. The director has chosen to shift from conventional way of portraying Chinese life as normal and appealing and instead, he indicates the bitter truths affecting people. It is ironical that people avoid to know and experience the real China; instead, they prefer to live in cocoon. This is because; the challenges in the modern China are massive to an extent that people do not want a reminder of the same (Platform.). The displacement approach adopted by Jia caused the internationally recognized masterpiece to lack authorization in China to an extent that the local Chinese cannot view the movie. Astonishingly, the platform film has received loquacious welcome from the international community affirming the essence of the film in the country. The platform was the ideal movie for the ideal China. The film setting dates back to 1979 to 1991 seeks to address the social, economic and cultural changes that aimed at transforming the social, economic and cultural changes of the Chinese republicans. Significant changes took place because of Cultural Revolution (1966-1976) that ultimately closed with the death of Mao Zedong. Therefore, emergence of platform 2000 is a beginning of new dispensation whereby films depict realism leaving propaganda and shades of culture aside (Platform). The usage of esthetics, cinema syntax, and politics of Chinese cinema in Shadow Magic by Ann Hu (2000) and Platform (2000) by Jia Zhangke The accompaniments of costumes and other items in the performance add the beauty of the film. Moreover, the beauty of love exists between Ling and Lang who are people from different social statuses. At First, Ling feels that he should not marry Lang though she loves her. The material differences between the two families make it hard for Liu to accept that she cannot marry the girl. However, fate brings them together and they get kiss that is a sign of love. Aesthetics of love exist between Ling and Liu who have strong love for each other. Moreover, the Confucian traditions portray the beauty of patriarchal society over the autonomous western culture. Chinese aesthetics base practice on three ethical concerns that include nonattachment, perspectivism and anti-rationalism. For instance, rationalism must not take place during marriage of Liu and Lang. The two love each other must common sense must not rule in this place. Under normal circumstances, the two should get married without taking into account the materialism aspect. However, the aesthetics of Chinese culture indicate anti-rationalism (Curtin 89). Magic shadow illustrates cinema syntax in different levels and the “Mise en scene” which literally means putting in a particular scene. The aspect exists in different French films and especially the director’s credit. How to shoot is the main difference between great and ordinary filmmakers (Curtin 56).The syntax normally involves two stages that include frame image and diachronic shot. The framed image involves the usage of scope and the limitations of frames. It involves the proximity, position and proportion of subjects. Similarly, it refers to the usage of light and shadow, color and texture movement of camera and the changing positions of the camera. Magic shadow has employed most of these aspects to achieve effective cinematic syntax. For instance, the setting of the camera is clear and one can view the events, as they ought to be. The lightning is enough and few or no cases of shadows take place throughout the film. The brightness and colorful images indicates enthusiasm especially among the Chinese actors. The film has used punctuations effectively to separate the different scenes (Curtin 67). The black screens and fadeouts in the magic shadow create enough punctuation so that audience can know the difference between one scene and the other. Sounds are part of cinema syntax and make the film to have a distinct advantage over others in the market. The magic shadow has distinct sounds and each sound has a meaning. For instance, the first sound in the film indicates introduction while the last sound marks the end of the sound. However, most of the sounds have Chinese background in terms of songs the fact that limits the audience. On the other hand,Female passivity is evident in the platform through sanctions of sex-videos by the government while sweaty used for birth control gets to the country in underground means. There is unrest in the air and the trains constantly move but few or no people travel. At the cement that overlooks the city is a consoling point for couples where they use their courtship repeatedly because of the unbending parents. The couples yearn and love each other only to find that parents do not want that relationship to continue. This makes it difficult for them and everything becomes bitter for that couple. At one point, the cement makes it difficult for the couple to share the same frame (Deppman 78). Normally, distant mountains symbolize hope and people hope they will move beyond the mountains to find better life and comfort. Moreover, the ravishing and impromptu flame creates a sense of Jia’s lost generation that requires more time to figure out the occurrence of issues. Some critics posit that the film lacks narrative vigor and they forget Jia’s point that there is little for the people to live on. The lives are in amber and try to create narrative that is more concrete. Through the startling long shots, Jia manages to evoke a community grasping hopelessly for something and anything to cheer them up (Deppman 67). Jia Zhangke is among the leading filmmakers in the sixth generation of the film directors in the republic of china. The members of the fifth generation include Zhang Yimou and Chen Kaige and the directors normally occupy themselves mostly with mythic stories driven spectacle. Moreover, they have pointed social criticisms that normally jeopardize the standing with the government. On the contrary, the sixth generation of director’s produces films covering contemporary issues outside the state. They normally rely on private funding and they mainly come from China. These directors produce the films without approval from the government and these movies end up undistributed in China. These films normally touch the controversial issues in the modern lifestyle such as sexuality, corruption, drug abuse, unemployment, aids and prostitution. Normally the improvise techniques with some nonprofessional actors in an attempt to evoke the feeling of life in china (Curtin 78). In the 1980’s the fifth generation filmmaker were real hero and they manage to break Chinese Cinema out of the closed little mould and tried bringing something new. However, they have changed in their current films hence no longer seeing the experiences of life in China. However, the Jia’s way makes it possible for him to view life as it appears in real china without distortion (Curtin 56). In terms of Jia’s aesthetics, scholars, and critics get disinclined and compare him to the fifth generation forbearers. Moreover, they compare him to some international directors as point of reference. For instance, Jones Kent described the Jia’s lengthy use of camera as an act of aping Hou Hsiano-Hsien and the Yasujiro Ozu. Similarly, Jonathan Rosenbaum links the same usage of camera to the renowned Hungarian director Miklos Janso. Moreover, Jones goes to an extent of associating Jia to Jean-Luc Godard and Altman in what they commonly describe as the ability to encapsulate the lifestyles, behaviors and dreams of the respective generations (Curtin 56) On the other hand, Stephen invokes Raul Ruiz to explain qualities evident in Ruiz depiction as well as Jia concerning the empty lives of the youths in the film “the dead of underdevelopment”. In the record, Jia goes ahead to cite Hou and Ozu who are critical determiners in his work. The impressive points of reference create a feeling of familiarity to the members acquainted with the films of Jia. However, the aesthetics and authenticity of the movie may get lost during the translation hence making it lose the natural gloriousness. It is worth noting that strangeness of platform is a central theme and therefore, losing it during translation makes it lose the authenticity and sweetness. The strangeness of the film descends on characters and impeding the ability to cope with imperceptiblechanges such as the shifting of fashion and music over several years and months (Jia Zhangke, Platform). The filmmakers of the sixth generation normally focus on capturing dramatic bizarreness in the immediate environment. What elevates Jia above his peers is the acute sense of how local occurrences that might appear on screen shaped by immense and unfathomable forces in the globe that emanate from the sources on the screen (Farquhar 60). Depiction of contemporary China ties Jia with global Cinematic stage hence making him an important figure in the public. Despite the fact that Jia being born in Fenyang a small town in Shanxi province, he is not of peasant origin and they went to the countryside due to his grandfather’s experience in surgical medicine in Europe. The travelling and wide knowledge give him knowledge and ability to air out issues of concern in modern China. Description of images and scenes derived from the two films (Shadow Magic by Ann Hu (2000) and platform Jia Zhangke (2000). Platform (2000) by Jia Zhangke and it starts at the sight of crowded backstage of a provincial theater awaiting traveling to the cultural education program that extols country’s societal progress and country’s made possible by communist revolution. However, the manager who gives constructive criticism to the performance cuts the tour short. He asserts that the peasant troupe caused inaccurate mimicking of the sounds of train though some of them have never seen train in real life especially those in the rural provinces (Jia Zhangke, Platform). Mimicry and imitation of the unfamiliar sound and foreign people continues in the subsequent and lighthearted scenes especially to the family of one of the youngest performers in the troupe. Cui Mingliang (Wang Hong -Wei) of the city of Fenyang located in the northern province known as Shanxi. The long empty platform of waiting seems unending and the long wagons carry the short-lived love. The conflict exists between the national collectivism and some individual fortunes who struggle to stay alive while others fight to get appropriate expression. The bellbottoms arrived in Jinjiazhuang sometimes between 1979 and 1989. Normally the adults do not wear the garments because they seem improper and unfit for work (Jia Zhangke, Platform). On the magic shadow, Incidental relationships between Raymond and Liu creates sporadic pace whereby the character of Raymond never developing fully beyond the awkward dialogues with Liu. Moreover, the shadow dialogue stands on a true story of a photographer who worked in Feng Tai Photoshop with some unidentified people from the west. These westerners are first people who brought Cinema to china. Therefore, Hu’s decision to explore early stages of the Chinese historical facts rather than film production creates valid and compelling story. However, the shadow magic normally overt the homage to the Giuseppe cinema paradise of 1988 and it does not always facilitate and ensure innovation (Ann, Magic Shadow). The film by Hu does not only recall the above-mentioned film but also the sound track by Ennio Morricone. He also employs some of the characters and tropes of narrative. While Cinema paradise recounts the effects of cinema on a young boy by the name Toto who lives in a small Town of Sicilian., He also explores the impacts of cinema for a young Chinese photographer who lives in Peking. Moreover, the character of Liu shares some striking similarities to the protagonist in Tornatore by the name Toto. For example, the two characters fall in love with females who have higher social status than they do (Ann, Magic Shadow). Conclusion Displacement approach has played crucial role in the emergence of the modern Chinese film. The act of moving from the mediocre mimicry and role-play has revolved to form the modern realistic film. The directors have produced fantastic films using displacement as a theory and approach. Magic shadow by Ann Hu is a clear exemplification role of displacement approach in filmmaking. The director displaces the traditional orientation on film and creates new perspective that sheds light to the film industry. Similarly, Platform by Jia Zhangke has employed displacement in ensuring that it displaces the old and meaningless film making strategies, replacing it with ideal and real approach. Moreover, the directors have extensively used Cinema syntax, aesthetics that have made the films ideal in the market. Works Cited Curtin, Michael. Playing to the World's Biggest Audience the Globalization of Chinese Film and TV. Berkeley: U of California, 2007. Print. Deppman, Hsiu. Adapted for the Screen the Cultural Politics of Modern Chinese Fiction and Film. Honolulu: U of Hawaii, 2010. Print. Farquhar, Mary Ann. Chinese Film Stars. London: Routledge, 2010. Print. Shadow Magic. Sony Pictures Classics, 2000. Film. Platform. New Yorker Video, 2000. Film. Read More

Therefore, the act of Liu and the Briton filmmaker forming an alliance is a threat to Lord Tan who represents the conservative group. It is difficult for the conserrvatists to come to terms with new technology and more especially the Lord Tan. The opera star retorts that western music is ostentatious and lack appropriate refinement. The assertions reveals contempt and ridicule that the man bears against the intrusion of white technology that seeks to defame him (Deppman 56) when he poses in the prestigious studio for a portrait, his attitude towards technological advancement indicates a man who wants to rest in the shoulders of tradition.

He is not ready to accept change, embrace, and way of life. However, displacement is stronger than any individual is and he must come to terms with change Ann Hu is the director of displacement because he transcends between the two eras. He is a young worker in the photography studio who loves the daughter of Lord Tan who goes by the name Ling. However, he is a mere poor man and he cannot afford to marry the daughter of the prestigious man. He sees the opportunity Raymond the Briton gives him as a platform to get a name and wealth that will help him marry the girl of her dream.

However, he still wants to be to the Confucian tradition that asserts that people must abstain from all forms of western infiltrations (Shadow Magic). Therefore, Liu ends up in a dilemma, he want to follow his dreams to the end while at the same time he wants to abide to the Confucian traditions. In the course of interacting with Raymond, he loses his job at the photography shop the fact that gives him time to share and learn from Raymond. He learns that Raymond is a liberal and has freedom to pursue what he desires.

On the other hand, Liu finds himself under emblem of traditions that are difficult to break. However, he decides to follow his heart and eventually learns about the art of film making using the soundless cameras and projectors (Shadow Magic). His desire to venture in new technology lands him on a better position because he gets an opportunity to show a film side by side with Raymond during birthday celebrations of the emperors’ daughter. The Chinese are able to see the meaning of film through seeing acrobats, images of babies, trains and other real images.

The most appealing point is where people run away when they see the train on the screen (Deppman 56). They think that the train will emerge from the screen shot and hit them to death. Raymond also shows various sections of film covering people walking in the city of Beijing. Following the Chinese public scene, people end up developing a positive attitude towards the film and eventually eliminating the demonic association. The displacement approach clearly indicates that people must move from the traditional approach to film(demonic) and adopt the modern approach where film is a platform for information and entertainment(Curtin 98).

The agents of conservatism especially Lord Tan are the first people to demand the death of Briton filmmaker Raymond. They do not value the occurrence as an accident but they posit that it was an agenda planned to kill the emperor daughter. However, the emperor’s daughter pardons him banishes him from China. In as much as the conservatists hinder emergence of new technology, displacement must take place and new technology must reign in china. Liu sustains injury and he is on the verge of despair when he gets various films they captured with Raymond.

Through the modified projector he can the Chinese people film the fact that opens avenue in his life. Finally, his dreams come true and end up marrying Ling the daughter of Lord Tan. Therefore, displacement approach has effectively facilitated emergence of modern film through a series of actions and convictions (Shadow Magic). Similarly, Jia Zhangke has embraced displacement approach in directing the film platform 2000. It covers the issues affecting the youth in the post Mao-era and the ways through which people can overcome such issues.

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