Raise The Red Lantern Essay
Noted as one of the most beautiful Chinese films created, Raise the Red Lantern (1991), directed by Zhang Yimou, presents a clear parable in which women are dominated by both men and traditions in a hierarchical society. Set in China in the 1920s, the film depicts the struggle and competitiveness between the mistresses to receive attention from the Master. Zhang uses Songlian’s story as a veiled allegory against Chinese traditions and to deeply criticize Confucian teachings. As such, the narrative not only explores the themes of authority and customs through the experiences of Songlian, it also comments on the social prejudices against women during that era through the scenery and events. Throughout the film, Zhang gorgeously presents the Master’s
…show more content…
courtyard house as not only a neutral backdrop for the seasons but also to expand and draw attention to the audience’s perception of space and confinement in the film. The story uses space to express how Songlian ultimately sold herself to a man and is now limited, and later on suppressed, to her room in the Master’s courtyard house; bound by customs and traditions. As Jiang explains, “To justify and emphasize the moral significance of appropriately playing one’s role is to justify and intensify the oppression of women” (Jiang 234). Therefore, this paper will analyze the themes of authority and gender superiority along with Confucian elements present in the narrative and examine the consequences that women endured in China.
The film begins with Songlian discussing marriage with her mother.
“’Let me be a concubine. Isn’t that a woman’s fate?’” (Raise the Red Lantern 1991). From the conversation, it can already be seen that there is discrimination against women. Women are seemingly treated more like objects and less like people and are limited in the choices they have, a reoccurring theme throughout the film. After arriving to the Master’s grey courtyard house, the audience is quickly introduced to the maze-like structure of the household. Though Confucian teachings do not talk much about women, it is expected that women should “play the role of the mothers and wives who ought to stay home and serve their husbands” (Jiang 234). Zhang accomplishes in portraying the feeling of confinement, symbolically the oppression of women, by guiding the audience through the courtyard house and its framing. Confinement is further enforced by the way the events are shown. The entirety of the film takes place within the courtyard house and the only scene outside of it is in the beginning when Songlian walks to the household. Liu explains that the courtyard house is developed “under the influence of Confucian rules, the arrangement of the traditional Chinese courtyard houses strongly reflected the hierarchical order prevalent in Chinese society” (Liu 4) and as such, women are expected to stay within the walls of the courtyard house to be protected from the outside
world.
The theme of power and authority is consistently enforced by the relationship between the mistresses and the Master. Jiang explains that the “importance of hierarchy and role-playing greatly helped to defend and justify sexual inequality” (Jiang 233). There is emphasis is placed on having the power to choose in the film which illustrates the gender differences for power. The men are the only one making decisions while the women are confined and limited in the options they have. Each mistress is confined in their rooms, waiting for the Master to choose to spend the night with her. As previously stated, women are treated more like objects than as people. Songlian herself knows that the mistresses are treated inferior to men and even compares herself to a robe, “’I’m just one of the Master’s robes. He can wear it or take it off’” (Raise the Red Lantern 1991). The chosen mistress will have her room lit up with red lanterns and she will decide what to eat during meals. Zhang chooses to thematically associate the red lanterns with passion and power. In China, the colour red is often associated with vitality and power. Once the red lanterns are lit, the chosen mistress knows that the Master had favoured her and allows her to indulge in the sense of power she has on the household, even though it is temporary.
courtyard house as not only a neutral backdrop for the seasons but also to expand and draw attention to the audience’s perception of space and confinement in the film. The story uses space to express how Songlian ultimately sold herself to a man and is now limited, and later on suppressed, to her room in the Master’s courtyard house; bound by customs and traditions. As Jiang explains, “To justify and emphasize the moral significance of appropriately playing one’s role is to justify and intensify the oppression of women” (Jiang 234). Therefore, this paper will analyze the themes of authority and gender superiority along with Confucian elements present in the narrative and examine the consequences that women endured in China.
The film begins with Songlian discussing marriage with her mother.
“’Let me be a concubine. Isn’t that a woman’s fate?’” (Raise the Red Lantern 1991). From the conversation, it can already be seen that there is discrimination against women. Women are seemingly treated more like objects and less like people and are limited in the choices they have, a reoccurring theme throughout the film. After arriving to the Master’s grey courtyard house, the audience is quickly introduced to the maze-like structure of the household. Though Confucian teachings do not talk much about women, it is expected that women should “play the role of the mothers and wives who ought to stay home and serve their husbands” (Jiang 234). Zhang accomplishes in portraying the feeling of confinement, symbolically the oppression of women, by guiding the audience through the courtyard house and its framing. Confinement is further enforced by the way the events are shown. The entirety of the film takes place within the courtyard house and the only scene outside of it is in the beginning when Songlian walks to the household. Liu explains that the courtyard house is developed “under the influence of Confucian rules, the arrangement of the traditional Chinese courtyard houses strongly reflected the hierarchical order prevalent in Chinese society” (Liu 4) and as such, women are expected to stay within the walls of the courtyard house to be protected from the outside
world.
The theme of power and authority is consistently enforced by the relationship between the mistresses and the Master. Jiang explains that the “importance of hierarchy and role-playing greatly helped to defend and justify sexual inequality” (Jiang 233). There is emphasis is placed on having the power to choose in the film which illustrates the gender differences for power. The men are the only one making decisions while the women are confined and limited in the options they have. Each mistress is confined in their rooms, waiting for the Master to choose to spend the night with her. As previously stated, women are treated more like objects than as people. Songlian herself knows that the mistresses are treated inferior to men and even compares herself to a robe, “’I’m just one of the Master’s robes. He can wear it or take it off’” (Raise the Red Lantern 1991). The chosen mistress will have her room lit up with red lanterns and she will decide what to eat during meals. Zhang chooses to thematically associate the red lanterns with passion and power. In China, the colour red is often associated with vitality and power. Once the red lanterns are lit, the chosen mistress knows that the Master had favoured her and allows her to indulge in the sense of power she has on the household, even though it is temporary.