Once there lived a very old peasant in a village. His name was Jack.He had a horse.It was almost as old as him. One day he set off with his young son to sell the horse before it died.They walked because the father did...Once there lived a very old peasant in a village. His name was Jack.He had a horse.It was almost as old as him. One day he set off with his young son to sell the horse before it died.They walked because the father did not want the horse to be too tired. They met two neighbours (邻居)on their way.The neighbours said, "Hello,why are展开更多
This paper examines the filming practice of Zhang Yimou’s Shadow(2018)in the context of Chinese culture and from the perspectives of contemporary gender theories.It argues that Shadow constructs a male-dominated patr...This paper examines the filming practice of Zhang Yimou’s Shadow(2018)in the context of Chinese culture and from the perspectives of contemporary gender theories.It argues that Shadow constructs a male-dominated patriarchal culture and a patricide allegory of the Father and Son structure of power in palace intrigues.Furthermore,it is a history of the acts that the Son takes to get the Father’s woman,absolve the tyrannical Father’s threat of castration and attain the supreme power.To suit the motif of palace intrigues,Zhang adopts quasi-back-and-white palette to create stunning visuals like traditional Chinese ink paintings.He also constructs a web-narrative of dualities around the yin-yang paradigm,the taichi diagram in particular.The film’s central gender relationship is a triangular one,in which Woman is positioned between the Father/the master and the Son/his“shadow”.Woman is marginalized in the film.She is not represented as the central subject,but as the object of sacrifice who functions to satisfy male desire and construct male subjectivity and sexuality.Moreover,the film explores how toxic and violent Chinese masculinity can become when it deviates from wen-wu prowess.Thus,Shadow becomes a violent movie that intensifies the viewer’s experience of violence as the Son/the“shadow”must be absolutely brutal and ruthless in order to slay the Father/the master and create new order.展开更多
The novel I vecchi e i giovani has been the object of numerous critical interpretations,including those of Leonardo Sciascia,Gaetano Trombatore,and Massimo Onofri,in particular.Taking as its starting point Pirandello...The novel I vecchi e i giovani has been the object of numerous critical interpretations,including those of Leonardo Sciascia,Gaetano Trombatore,and Massimo Onofri,in particular.Taking as its starting point Pirandello’s phrase,“la gioventùsacrificata potrebbe dare un crollo a questa oltracotante oppressione dei vecchi e prendersi finalmente uno sfogo e affermarsi vittoriosa”and applying Freudian principles,this work seeks primarily to highlight the autobiographical element that is expressed in the father/son,Luigi/Stefano,and Lando Laurentano/Stefano Landi relationships.展开更多
文摘Once there lived a very old peasant in a village. His name was Jack.He had a horse.It was almost as old as him. One day he set off with his young son to sell the horse before it died.They walked because the father did not want the horse to be too tired. They met two neighbours (邻居)on their way.The neighbours said, "Hello,why are
文摘This paper examines the filming practice of Zhang Yimou’s Shadow(2018)in the context of Chinese culture and from the perspectives of contemporary gender theories.It argues that Shadow constructs a male-dominated patriarchal culture and a patricide allegory of the Father and Son structure of power in palace intrigues.Furthermore,it is a history of the acts that the Son takes to get the Father’s woman,absolve the tyrannical Father’s threat of castration and attain the supreme power.To suit the motif of palace intrigues,Zhang adopts quasi-back-and-white palette to create stunning visuals like traditional Chinese ink paintings.He also constructs a web-narrative of dualities around the yin-yang paradigm,the taichi diagram in particular.The film’s central gender relationship is a triangular one,in which Woman is positioned between the Father/the master and the Son/his“shadow”.Woman is marginalized in the film.She is not represented as the central subject,but as the object of sacrifice who functions to satisfy male desire and construct male subjectivity and sexuality.Moreover,the film explores how toxic and violent Chinese masculinity can become when it deviates from wen-wu prowess.Thus,Shadow becomes a violent movie that intensifies the viewer’s experience of violence as the Son/the“shadow”must be absolutely brutal and ruthless in order to slay the Father/the master and create new order.
文摘The novel I vecchi e i giovani has been the object of numerous critical interpretations,including those of Leonardo Sciascia,Gaetano Trombatore,and Massimo Onofri,in particular.Taking as its starting point Pirandello’s phrase,“la gioventùsacrificata potrebbe dare un crollo a questa oltracotante oppressione dei vecchi e prendersi finalmente uno sfogo e affermarsi vittoriosa”and applying Freudian principles,this work seeks primarily to highlight the autobiographical element that is expressed in the father/son,Luigi/Stefano,and Lando Laurentano/Stefano Landi relationships.
