By H. Zeng
Drawing on numerous movie semiotic theories, this publication sheds mild on works by way of mainland chinese language administrators, Hong Kong New Wave administrators, Taiwan New Cinema administrators, and in a foreign country chinese language administrators. Zeng examines the cultural/historical implications of exile during the specified research of movie language and theoretical exploration.
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Extra resources for Semiotics of Exile in Contemporary Chinese Film
Cheng. Throughout the film, she has not been quite the outside male projection of a helpless female beauty. Such an idealized projection of plaintive female beauty is intensified, in my view, by Kwan’s own sexual orientation as a gay man—his need to fabricate a fiction of ideal femininity in himself. The ideal femininity is a mirror image of Kwan as a gay director. Photography, as the frozen, transfiguring form of life, also registers an idealized, immortalized form of female beauty. Thus, in Kwan, there is an intimate link among his gay identity, an idealized femininity, and filmmaking.
The interweaving of socialism and capitalism leads to the “synchronic uncontemporality” of the coexistence of the premodern and of modernism and postmodernism in the ’90s. According to Zhang Xudong, while the ’80s is characterized by the homogeneity of a cultural mission in the intellectuals, the contention between postsocialism and postmodernism makes the ’90s an extremely heterogeneous and chaotic epoch. 2 In the midst of this commercial craze, the destabilized Chinese intellectuals seek shelter in a postsocialist nostalgia.
At the moment of the murder, both Wang Qiyao and Long Leg seem to be in an inexplicable, almost fantastic mental frame of mind at the surreal moment of midnight, as if in a farce (382). It is as if both Wang Qiyao and Long Leg are “exiled” from their normal selves, like an individual before the distracting, controlling mechanism of a camera. The only witness to the murder, although not an omniscient mechanical eye, is non-human eyes, that is, the eyes of the pigeons. Parallel to these reverberations, Wang Qiyao’s tableau vivant (a form, according to Barthes, closest to photography in origin and linked with “specter”) contains the similar confusion of wedding and mourning in her triumphant scene of the beauty contest.
Semiotics of Exile in Contemporary Chinese Film by H. Zeng