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    Crouching Tiger, Hidden Dragon

    CASE STUDY

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    Crouching Tiger, Hidden DragonChina/Taiwan/Hong Kong/America, 2000

    Director: Ang Lee

    Cast: Chow Yun-Fat, Michelle Yeoh & Zhang Ziyi

    SYNOPSIS:Crouching Tiger, Hidden Dragon is set in the Qing Dynasty in 1779.

    Li Mu Bai is an accomplished warrior who has decided to leave this lifestyle

    behind and move on. He asks his friend, Yu Shu Lien, to take his infamous sword(the Green Destiny) to their mutual friend, Sir Te, as a gift. It is evident that MuBai and Shu Lien have feelings for one another but we later discover these havebeen repressed as Mu Bais dead best friend and fellow warrior was Shu Liensintended.

    The Green Destiny is delivered to Sir Te and Shu Lien is introduced to the youngJen, daughter of a governor and set for an arranged marriage. That night a

    masked thief who Shu Lien fights steals the sword. The thief manages to escape. Mu Bai arrives and ShuLien is under the impression he came about the swordhe reveals he came because she was there.

    We are introduced to an undercover policeman and his daughterhe on the hunt for Jade Fox who killedhis wife. Later that night, Jade Fox arrives to fight the policeman, his daughter and the security guard

    from Sir Tes house. Mu Bai arrives and reveals that Jade Fox murdered his masterand stole the WudangMartial Arts Manual so he too seeks revenge. They fight until the masked thief turns up. Mu Bai issurprised by the masked thiefs skills and questions the thiefs training. Meanwhile, Jade Fox kills the

    policeman and then flees with the masked thief.

    The following day Shu Lien tells Jen (who she suspects as the thief) and her mother that Jade Fox haskilled the policeman. Jen is clearly shocked by the news. Later that evening, guilt-ridden, Jen tries toreturn the sword but runs into Mu Bai. He offers to teach her but she angrily rejects his offer and leaves toconfront Jade Fox (her governess) about the murder. She reveals to Jade Fox that she has been studying

    the stolen Wudang manual for years and has exceeded Jade Foxs skills. During the night Jen is visited bya man (Lo) who asks her to come away with him. A flashback reveals Lo and his bandits had once raided acarriage Jen was in and he stole her comb. She chased him across the desert and into a cave. They fellpassionately in love. Lo persuaded her to go back to her family but not before telling her a legend of a manwho jumped from a cliff to make his wishes come true. Because the mans heart was pure, he did not die.

    Back to present day and it is Jens wedding day. Lo appears and disrupts the procession. Later thatevening it is revealed that the Green Destiny has been stolen again and whats more, the newly marriedJen has run away. Whilst on the hunt for Jen, Mu Bai speaks plainly to Shu Lien about his feelings forher. Meanwhile, dressed as a man, Jen causes trouble at a tavern.

    Jen appears at Shu Liens place she is upset and Shu Lien consoles her. Jen becomes annoyed when shethinks that Lo, Mu Bai and Shu Lien are conspiring to control her. Su Lien challenges her and they fight.Mu Bai arrives and the fight continues in the tree tops. He persists in his wish to train her and she saysthat she will become his pupil if he can take the Green Destiny in 3 moves he takes it in one and shegoes back on her word. Mu Bai throws the sword into the water and Jen leaps in after it. Lo appears and

    pulls her from the waterJen awakens in a cave and is being cared for by Jade Fox.

    Mu Bai arrives in the cave and it is evident that Jen has been drugged. He treats her as Shu Lien and Boarrive saying they followed Jade Fox. Suddenly she appears firing poison darts at Mu Baihe defeats herbut not before she points out one of her darts has hit him and she expresses her disgust at Jen forkeeping the Wudang manual secrets from her. She dies not sharing the antidote for Mu Bais poison. Jensays she can find the antidote given time she leaves whilst Shu Lien waits with the dying Mu Bai. MuBai uses his last breaths to tell Shu Lien he loves her. Jen arrives with the antidote too late. Shu Lienasks Bo to return the sword and tells Jen to go and be true to herself.

    Jen is seen climbing the Wudang Mountain where Lo waits for her. The two are reunited. The followingday Lo awakes to fins Jen has gone he runs outside and sees looking down from a mountain bridge. She

    asks if he remembers the story he told her and asks him to make a wish. He wishes they could be in the

    desert again. She leaps from the bridge and plunges, smiling, into the abyss.

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    Representationand its impact on the messages and values of the film

    Firstly, use the space below to outline the key messages and values of Crouching Tiger,Hidden Dragon.

    Representation of genderThe way in which women are presented in Bushi no Ichibun and Crouching Tiger,Hidden Dragon differs. Use the space below to make notes and draw comparisonsbetween the two films.

    Crouching Tiger, Hidden Dragon Bushi no Ichibun

    SHU LIEN HATANO-SAN

    JEN KAYO MIMURA

    JADE FOX

    Messages and Values

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    The title describes the structure of the film. The first part is about society it takesplace in the world of law, duty and ceremony. The second part takes us beneath thesurface, into the world of individuals and their relationshipsAng Lee

    Crouching Tiger, Hidden Dragon sees three women who have either chosen their ownpaths in life or are discovering which path to take. Jade Fox made the decision tomurder her Wudang lover and steal the Wudang Manualshe has chosen a life of crime

    and fights out against the patriarchal society in which she lives. She expressesdispleasure at the way in which women are treated: Your master underestimated uswomen. He wouldnt teach me even after hed slept with me. He deserved to die by awomans hands! Shu Lien has chosen the life of a warrior and has chosen to repressher feelings for Mu Bai in respect for her dead fianc She chooses to follow theexpectations of society she is quiet, thoughtful and down to earth. She expresses thedesire to live freely but says: As a woman, I still must abide by tradition Finally,there is Jen. She is bound by society and the expectations of her family. She feelstrapped and longs for freedom. She has gained power through the Wudang manual andfinally rejects guidance from Jade Fox and Mu Bai (when he offers it). She is rebelliousand sees romance in the notion of living as a warrior. Her path is only clear to her when

    she experiences the world for herself and she follows the advice of Shu Lien: be trueto yourself.

    The three main female characters all appear to understand different roles they have insociety as well as traits unique to themselves and their own beliefs. Take a close look atthe different roles Shu Lien and Jen inhabit in two contrasting scenes: the meeting withMrs Yu and the second battle between Shu Lien and Jen. Both show a confinementimposed on them by society but the ability to move beyond this when required.

    Micro-Elements Meeting Sequence Battle Sequence

    Cinematography

    Sound

    Editing

    Mise-en-scene An ornate room with lots of props that suggestfemininity decorated vases of flowers, carvedfurnishing and delicate snacks on patterned plate.

    Jen is wearing a large flower in her hair and her

    face is made up. Her costume is heavy and restrictsher movement. Shu Liens is in a lighter costumebut her movements are also contained.

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    Key scene analysis: how are women represented in Crouching Tiger, Hidden Dragon?Compare your findings with the representation of women in Bushi no Ichibun.

    Women in Crouching Tiger, Hidden Dragon are represented as strong and able to fulfil more than one roleor expectation within society. This differs from the representation of women in Bushi no Ichibun. Here wesee the two female characters restricted to the role of wife and one even stereotyped as the gossipinghousewife.

    In the Yu family meeting sequence we see Madam Yu, Jen and Shu Lien meeting to discuss the events of

    the previous night (the murder of the policeman and the stolen sword). Shu Lien has deduced that Jen isthe thief and cleverly uses the social situation to speak covertly to Jens conscience. A series of mid-shotsreveal a setting that can be viewed as typically feminine. These mid-shots allow the viewer to take in theset and the costumes we see softly coloured silk materials, intricate and delicate furnishings, a tablewith a tea set (representative of domesticity) and vases of flowers (which are also seen in the hair of the Yuwomen). The costumes of the three women are silken and ultra feminine with delicate designs/patterns.Mrs Yu and Jen look similar in terms of their costume, hair and make-up. Shu Lien (as someone of alower social standing) has more simplistic costuming, hair and make-up. This sets her apart and perhapsrepresents the freedom she has and the freedom Jen so desperately wants. However, she still looksfeminine with the use of a soft pink tunic and delicate earrings she is able to comfortably fit into theexpected role of woman in society. We see something very similar in Bushi no Ichibun with Kayoscharacterher clothing is restrictive and she is seen throughout the film in muted, soft colours we often

    associate with femininity.

    It is interesting to compare Madam Yu with her daughter and Shu Lien. Mrs Yu is representative of astereotypical woman (much like Hantano-san in Bushi no Ichibun). We only see her in the role of motherand wife. In this sequence she is also seen as something of a gossip (sound is used to reinforce thisrepresentation when she whispers the rumour of the stolen sword). Camera work is used to differentiateJen and Shu Lien from Mrs Yua mid-shot frames Mrs Yu to the right with her back to the camera whilst

    Shu Lien is central (facing camera) and Jen is framed to the left (facing camera). This could berepresentative of how Jen and Shu Lien are different from Mrs Yu both multi-faceted in their societalroles. However, Jens other characteristics(or, indeed, her true character) are hidden whilst Shu Liens arepublically known. The placement of Shu Lien in the centre of Mrs Yu and Jen could be representative ofthe fact that Shu Lien sits comfortably in the role of warrior and woman.

    The pace of the editing increases and cuts to a close up of Jen as the murderer Jade Fox is discussed: afemale criminal, now thats news!. Cutting back to Jen she appears disgusted at this patriarch assertion. A series of close-ups and eye line matching shows how Shu Lien is able to maintain eye contact with thoseshe speaks with. This gives her a confidence that we may not usually associate with women in this timeperiod and culture. Close ups are also used on Jen who is often seen averting her gaze conforming

    perhaps to the role of meek woman when she is in these social situations (this is seen time and again withKayo in Bushi no Ichibun close ups are used to show her even avoiding direct or sustained eye contactwith her blinded husband). However, when Shu Lien purposefully drops the cup whilst Mrs Yu is lookingelsewhere, a close up reveals Jen to look directly at Shu Lien. The close up also shows a look of defiance inher face as she knows she has been discoveredin this moment we see the other side to Jens character

    and understand she is much more than a mere governors daughter. The shot lingers as she shoots aglance to her mother to ensure she has not noticed Shu Liens trick. The audience understand the rolesthat Shu Lien and Jen share; this is reinforced with the next close up which shows Shu Lien notice anoise outside. The camera quickly pulls back and the two momentarily share the screen. This is also seenlater just before the Shu Lien and Jen fight shot-reverse shot close-ups show aggression, insolence andarrogance from Jen and anger from Shu Lien as Jen rejects her guidance.

    At the end of the sequence, three men enter. A wider three shot from behind represents the women aspowerful as Sir Te, Mu Bai and one of Sir Tes employees. They move through space and appear dominantnext to the three men who are shot with a grey, colourless backdrop and muted coloured clothing.

    Another key sequence which highlights how Jen and Shu Lien are representative of strong, femalecharacters is the fight sequence at Sun Security

    Use the space on the following page to complete this mini-essay. The following

    questions may help you: Considering the mise-en-scene: how does this set differ from that of the meeting scene? How might this be

    significant in the representation of these two women? Also, consider the costumes how are they different fromthe meeting scene? Again, why might this be significant in the representation of women?

    Use of sound: how does the sound contrast to the meeting scene? Consider the connotations of the sounds used.Comment on diegetic and non-diegetic.

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    Cinematography: the camera moves much more in this sequence compared to the meeting scene. Aside from thefact movement is required to keep the action exciting, what else could this be representative of? Hint could belinked to the theme of freedom.

    Consider the pace of the editing. Again, how does this help construct a representation of women as strong andadaptable?

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    TASK: Now consider the representation of men and compare with Bushi noIchibun. Mu Bai and the men Jen defeats in the tavern wouldbe an excellent placeto start. Here you may want to focus on the first scene where Jen fights with MuBai (particularly his response to her skills) and the interactions between him andShu Lien. You could focus on mens attitudes to women.

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    Representation of time and placeAs mentioned previously, Crouching Tiger, Hidden Dragon is set in the Qing Dynasty,China in 1779. The genre of the film (Wuxia) dictates the setting to some extent conventions have Wuxia films set in ancient China with fantasy elements common.

    From the first establishing shot we see traditionrepresented by shots of rural China but also a close

    up of an eccentric looking (facial hair) malecharacter. Mu Bai appears dressed in a long gown,more like a monk than a traditional returningwarrior/swordsman introducing audiencesimmediately to key themes. The camera tilts up to

    reveal Shu Lien she has poise, posture and dignity as her early representation isestablished. Mu Bai sits down with Shu Lien as shot reverse shot reveals their close,repressed personal relationship. Occasional cutting to a two shot reveals objects andprops and interior settings encoding the films tradition. The shot then changes to closeup when Mu Bai reveals he has given up meditation which is shown as anguish on ShuLiens face. Further dialogue in this pivotal opening scene anchors the nature of theirrepressed love for each other (prevented by their strict moral codes) when Mu Bai statesthat something (Shu Lien) was pulling him back into the world. This scene then cuts toa wide shot revealing an elaborate and opulent Chinese interior where the Green Destiny(the 400 year old sword which he is giving up) is framed centrally.

    Much of the film is set in the iconic capital city of Beijing important for audienceidentification. 40 minutes into the film Shu Lien is framed centrally, organising how tocatch Jade Fox. The scene cuts to Sir Tes palace, the camera tilts up to reveal hiswealth and splendor but also Chinese tradition through setting and objects and props.

    As a contrast to the deeply traditional looking interiors, there are many sequences whichtake place outside and use dramatic natural backdrops. For example, the moonlitcourtyards of Jade Fox battle sequence, the lush green tree tops and dramatic waterfallsof Mu Bai and Jens fight sequence, the vast desert landscape in the flashback sequenceand the Wudang mountain retreat where Jen throws herself from the bridge.

    Sweeping, wide shots are used to place us in these setting and we are often watching the

    gravity defying movements of our central characters. What do you think these locationsare representative of and how might these ideas link into the messages and values of thefilm?

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    Social, historical, political and cultural contextsandtheir impact on the messages and values of the film

    Section Objective: You will become researcher and teacher in this weeks lesson.

    The area you will be researching in depth is the social, historical, political and cultural

    context of the film Crouching Tiger, Hidden Dragon.

    You will ultimately be gearing your research to ways in which these contexts help deliverthe key messages and valuesof the film.

    You have two hours of lesson time to collate your research. It is essential your work isfactual and filtered so that it is relevant to the film and its messages. The aim is toproduce a detailed hand out that is informative and draws on specific moments of thefilm text to support findings. You should use the Bushi no Ichibun booklet as guidancefor the level of detail required.

    SOCIAL & POLITICAL CONTEXT

    Take a close look at China in the year 2000 (when the film was made). You may want to include

    information/facts about the following:

    Gender roles in society

    Views on freedom of speech/choice

    The type of government in charge and possible restrictions on the Chinese population

    Marriage & divorce rates

    HISTORIAL CONTEXT

    Take a close look at China during the Qing Dynasty, around 1779 (when the film was set). You may

    want to include information/facts about the following:

    Attitudes to women

    Gender roles (e.g. expected jobs or roles in society)

    Class systems

    Marriage

    CULTURAL CONTEXT

    Take a close look at the Chinese culture. You may want to include information/facts about the

    following:

    Main religions in China (core beliefs)

    Arranged marriages are they still accepted? What are/were the attitudes to these?

    Chinese philosophies and their place in society (you may want to focus on Tao

    teachings/beliefs)

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    Genreand its impact on messages and values of the film

    Crouching Tiger, Hidden Dragonwould be considered a hybrid filmit is a fairly evenmixture of a romance and Wuxia. As we know, genres have their own codes andconventions that make them recognisable to an audience.

    What is Wuxia?Wuxia films are Chinese martial arts films that involve chivalry, loyalty and tradition inthe guise of a protagonist hero (Wuxia literallymeans martial hero) who does not servea lord, is often from the lower classes or ancient Chinese society and is bound by amoral code. The plot of a Wuxia film is driven by the hero attempting to right a wrong orremove an oppressor. The genre conventions dictate that the film will be set in ancientChina and elements of fantasy are also a common feature.

    Heroes of Wuxia films are often men but women as protagonists is not uncommon.

    How do the conventions of Wuxia impact the messages and values of the film?In Crouching Tiger, Hidden Dragon, martial arts (a key convention of Wuxia) could beseen as representative of the theme of freedom is the film. Consider what the knowledgeand skill in martial arts represents for each of the main characters.

    Character Comment Evidence

    Mu Bai

    From the start we know that Mu Bai is askilled warrior we gather this from thediscussion in the opening and the

    importance placed on his sword). For Mu Bai

    his warrior life is the thing that hasprevented him from being with the womanthat he loves. By turning his back on martialarts, he feels he can start a new life with ShuLien. Martial arts actually restrict him and

    keep him from being free to be with ShuLien. This is seen throughout the film whenhe is drawn into retrieving the Green Destinyhe must see the mission through and thiscosts him his life. In death, Mu Bai says that

    he will drift by Shu Liens side as a spirit this leaves the audience with a feeling ofregret (e.g. why didnt he say/do somethingsooner?).

    Shu Lien

    Jen views Shu Lien as free because she is awarrior. She is skilled and can hold her ownwith Jen. However, like Mu Bai, Shu Lien isbound by a code of chivalry. She does notwant to dishonour her fiancs memory byadmitting love for his sworn brother, Mu Bai.

    So once again, training in martial arts hasstifled true feelings and ambitions. Whilstmartial arts may give her the freedom to liveoutside of societys expectations of women italso means that she is bound by a code of

    practice (albeit one she chooses to follow).However, it could be said that knowledge ofmartial arts is the one thing that brought herclose to Mu Bai in the first place.

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    Jen

    Jens knowledge of martial arts allows her tobreak free from the shackles of heraristocratic life. She yearns for freedom andthe trainings of the Wundang manual haveafforded her a type of freedom. Martial artsallow her to live a life with few boundaries(once she has the courage to leave her old lifebehind). However, the message is thatfreedom is not without consequence. She

    uses martial arts to show her distain for men(in the tavern sequence) and she has chosento keep her talents a secret from Jade Fox.

    These choices ultimately lead to thedestruction of Mu Bai and Shu Lienshappiness. After stealing the sword again,Mu Bai and Shu Lien must pursue. Jade Foxis eager to punish Jen for her betrayal andcaptures herthis leads to Mu Bai followingand getting killed. Jen realises what herfreedom has cost others. Because she neverharnessed the power martial arts gave her, itwas ultimately a destructive force. At the endof the film we see her understanding the

    more philosophical side of martial arts andshe frees herself by jumping from thebridge.

    Jade Fox

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    Wuxia vs Chambara

    Widely speaking, Wuxia as a genre shares many common features with a Chambara(samurai) film. Both are unique to their countries of origin, but (as mentioned) sharesome similarities. For example: a honourable hero figure overcoming oppression;violence used by the hero is balanced by a spiritual philosophy; climax usually results ina showdown of good vs evil etc The biggest difference is the fantasy element of Wuxia.

    What purpose does this fantasy element serve to the messages and values? How is thisdifferent from Bushi no Ichibun?Consider the following:

    How the gravity defying martial arts sequences may be read as a metaphor

    What the fantastical elements such as the Wudang Manual and the Green Destinymight represent

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    Narrativeand its role in communicating the messagesand values of Crouching Tiger, Hidden Dragon

    Lets take a closer look at the narrative structure of Crouching Tiger, Hidden Dragonand consider how this may help to communicate key messages and values of the film.

    As we did with Bushi no Ichibun, lets see if we could apply Tsvetan Todorovs stages ofnarrative.

    Narrative stage Crouching Tiger, Hidden Dragon

    Equilibrium Mu Bai has left his warrior life behind and symbolically gives up hissword (The Green Destiny) to Sir Te. He asks Shu Lien to deliver it forhim whilst also hinting that they could be together.

    Disruption

    Realisation

    Attempt to repair

    Restoration

    Could you apply these stages to Jens own narrative in the film?

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    Does the film have a resolute ending? Consider how the ending of thefilm could link into the delivery of the key messages and values.

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    David Heuser

    Societal Roles in Crouching Tiger, Hidden Dragon

    As with many of these essays, my first impulsive was to explore a part of the movie I did not

    understand. In this case, the end of the film, when Jen casts herself off of the cliff presumably to

    her death, although we are not exactly sure if that is the case. What is the meaning of this act?The path I went down (and others are possible, as always) led me to the idea that this wonderful

    love story wrapped in the kung-fu genre hides within it a story about societal obligations and the

    penalties which are extracted when those obligations are not fulfilled.

    Here, youth (Jen, corrupted by Jade Fox, and Lo, the desert warrior) does not obey societal

    obligations while the older generation, in the person of Li and Shu Lien, obeys those obligations

    to an extreme, to a fault. In fact, all of the elders are implicated in this, suggesting that society

    as whole is guilty of straitjacketing itself, as these are the pillars of that society. For examples,

    and there are many, two come quickly to mind: Sir Te not pursuing the theft of the Green

    Destiny sword so as to not offend the governor, and the lack of involvement in Jen's life by her

    parents.

    Jen is clearly immature, raised not by parents, but by her mentor, the Jade Fox. Now, Jade Fox

    herself is outside the bounds of lawful society, and her escape to "the West" - some unspecified

    "other" place which is clearly outside of the societal order we find in the movie - and her

    subsequent return infect the culture Lo and Shu Lien represent, the culture in which they

    provide order and enforce the law.

    Jen's character is direct opposition to the older generation; it is all wrong, or at least out of sync

    with the society she lives in. She is deceptive. (Jade Fox curses her for this on her deathbed, but,

    of course, what did she expect as she was deceitful in the same way, presenting herself as onething while actually another. In a show of one up-man-ship, Jen presents herself as at least

    three things: dutiful daughter/member of society, dutiful trainee to Jade Fox, and ninja-thief.)

    Jen is also impulsive (running off after the hoards practically to her death, for a comb),

    materialistic (besides the comb incident, she identifies herself completely with the sword soon

    after stealing it the 2ndtime, to the point of chasing it down to her near death), and generally

    immature (she considers the initial theft of the sword a prank, and later mirrors that incident

    with another prank, the barroom brawl).

    Jen is coupled (literally and metaphorically) with Lo, who shares many of these characteristics.

    His materialism and deception are revealed in his occupation; like Jen he is a thief who attacks

    with stealth. We don't see much of Lo, but we don't need to. Jen is his surrogate - everything we

    need to know about Lo, we can learn by watching Jen. (I still feel Lo is necessary to the movie,

    for several reasons, not the least of which is Jen's sexual awakening, so important to her

    interaction with Li. Lo also provides a mechanism which allows Jen to become independent from

    Jade Fox.)

    Lo is also represented by Li for much of movie, as he is the "other" man in her life. The sexual

    tension between Li and Jen is noticeable even the first time they meet, and later, in their last

    meeting, it is actually spoken about by Jen. "Do you want me or the sword?" she asks him. It is,

    of course, Jen, the youth, who thrusts the sword at Li, however; she is the male (sword as penis)

    aggressor in the relationship, and there is never any doubt that Li will remain loyal to Shu Lien.

    The possibility of a coupling is there, however, because Jen is everything the older woman is not:

    young, beautiful, emotionally boiling over, and, most importantly, she needs Li for his ability to

    train her.

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    This younger couple (Jen and Lo) act on their emotions without regard to the consequences or

    their obligations. They are in the desert, the wilderness, outside of society, attempting to forget

    the outside world and her duties to her (biological) family. This is Jen's "West." Just as Jade Fox

    was evicted from society only to come back and infect it with the chaos and unlawfulness of that

    outside place, so Jen spends her time in the desert, allowing her to go one step further, bringing

    the unruly chaos of the wilderness into the order of society. Even later when she does fulfill her

    obligation to her family and marries, she runs off, hating her husband and her parents, running

    away from the limits society places on her. Lo, in contrast, has already been through thiscrucible; he has already abandoned society when we first run into him, an outlaw in the

    wilderness, serving no master.

    We now turn to the older couple, Li and Shu Lien. They are also guilty of improperly handling

    their duties to their society, but they obey social obligations too long, honoring the memory of a

    dead brother in arms to the point of ridiculousness. They have not acted upon their emotions-

    theyshould be having a family, theyshould be parents to someone like Jen. In fact, their failure

    to grow from mature adults to parents is a parallel to Jen's struggle in this film to pass a similar

    life barrier, from youth to adult. (See the last paragraph for more.) Metaphorically, Li and Shu

    Lien represent Jen's absent parents, who we hardly see in the movie. They have tacitly allowed

    Jade Fox to raise her, just as Jen's actual parents have. For in their past failures to both finish

    off Jade Fox and become parents (a societal obligation) themselves, they have "lost" Jen.

    Ultimately, they wait too long to take over Jen's training, and the movie becomes a struggle over

    Jen. Whom will the next generation follow, Jade Fox or the Wudan-trained warriors? Mistakes

    made in the past haunt them and are compounded: the Wudan does not take females on to train

    (leading to the exclusion of both Jade Fox andJen), Li allowed the Jade Fox to escape to the

    West and did not follow her, neither Li nor Shu Lien acted on their feelings. In a very real way,

    society, represented here by Li and Shu Lien, madeJade Fox, which in turn made Jen.

    Jan's relationship with other characters are like that of a family. We rarely see her real parents,we neversee her interact with them, we never see siblings, and I don't recall even seeing her

    husband. So her biological family is absent. In its place is her metaphorical family. Jade Fox and

    Li, trainer and would-be trainer, are her mother and father. To which will she cleave? Shu Lien

    is her sister; this is in fact stated. Now, in metaphorical terms, siblings of the same sex are often

    used to identify characters as one and the same person in different guises. Here Shu Lien is both

    a positive model for Jen (warrior, in society), and a negative model (Shu Lien does not follow her

    heart, she obeys societal restraints too long). Finally Lo is Jen's husband. Their marriage is not

    legitimized by any institution, making it the opposite of her true marriage later in the movie: the

    first is personal and consummated, the second societal and a sham.

    (As a side bar, this creates an interesting contrast to Western literature and thought. The rise of

    the individual from the Renaissance forward in the West leads to cases just like this but with the

    moral compass reversed. For example, Wolfram Von Eschenbach's Parcival enters into a true

    marriage, with no priest or ceremony, decided on by only the two people involved, and is thereby

    revealed to living an authentic life. One of the major themes of that book, in fact, is that Parcival

    can only achieve his goal when he responds to his feelings and not simply do what society has

    taught him a knight is to do.)

    The main characters balance each other in a variety of ways. For example, Li, Lo and Jade Fox

    make all possible combinations of mentor/lover relationships:

    Jade Fox is Jen's actual mentor whose skill Jen surpasses (negative mentor); clearly they are not

    lovers. Li is a potential mentor (that is, both is a mentor and is not a mentor) whose skill Jen

    does not surpass; he is also a potential lover (again, both is and is not).

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    Lo is not a mentor, but his skill matches Jen's; and they are lovers (actual). To borrow a format

    from Claude Levi-Strauss:

    Character Mentor/Abilityin

    relationship to Jen

    Lover/Consummated?

    Jade Fox +/- -/-

    Li +-/+ +-/-

    Lo -/= +/+

    (By the way, one of the ways we know Li and Jen are potential lovers is because of the

    metaphoric equivalence between Jen and Shu Lien, and we know Shu Lien's and Li's feelings for

    each other. It is also tempting to accuse Jen of yet another infraction against society by

    confusing a man, Li, who should be mentor, for a potential mate. Li's duel role as both potential

    father andlover to Jen is one ripe for a Freudian to work on! )

    Another example of balance is the characters' relationships, real and presumed, to society. Lo

    has rejected society and says so. Jade Fox also has rejected it, but she pretends not to. Li

    accepts it. Jen is first like Jade Fox (deceptive), then like Lo (an outlaw - witness the barroom

    brawl), and then finally like Li when she reaches maturation, accepting her place in society. But

    she does so too late; there is no real way to get back to her true (biological) family and (lawful)

    husband, but also no way to go forward with Lo, with whom she has also made a pact, and

    finally no way to continue as she has been going. It is this trap which she seems to be escaping

    with her great leap.

    Finally we come to the Green Destiny. I've avoided the sword at the center of the story because

    it's symbolism lies on a different axis than the one this essay explores (the idea of destiny, which

    explains the name of the weapon). But I need to address the sword's relationship to this axis.

    Only two characters use the green sword, Jen and Li. Li's initial rejection of the sword's return to

    him reinforces the idea that Li has gone overboard in his self-punishment for whatever failings

    he had in the past. Jen's attraction to it (for all the wrong reasons) reinforces her lack of any

    kind of the self-critical maturity of which Li has too much of.

    Jen and Li battle each other for/with the sword four times. These battles are like a courtship,

    further emphasizing their relationship as potential lovers. In the first conflict, they flirt: Jen tells

    him, "I'm just playing around," and we later learn that Li is also just gauging her abilities. In the

    second fight he takes sword back from her, and tests her (because he wants to be her mentor).

    The third time they meet is the famous battle in the trees. She tests him this time ("take the

    sword from me in three moves"), and, of course, he takes the sword back again. Since he is not

    tied down to the world of illusions, the material world, he can easily cast it aside. She, the thief,

    is so attached to possessing the sword, she nearly dies reclaiming it.

    Their last meeting is not really a battle between them. Jen, drugged, accuses him of coming back

    for her (as a lover) as much as for the sword. As previously mentioned, her thrusting the sword

    at him has sexual overtones. But her expression of her feelings for Li are wrong; they follow from

    her only successful relationship, her relationship with Lo, where love involved violence,possession, conquest. Only in this last meeting does Li finally show what he, and the sword, are

    really capable of. When Li kills Jade Fox, he not only shows his true ability, but also how he has

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    held back before, using his full strength onlywhen it is right and just. This is in contrast to Jen,

    who fights for no reason whatsoever, or on her on whims.

    Li finally accepts his destiny at the end of the movie when he uses the sword against Jade Fox.

    Here, he is one with his role in society, not overly cautious as he has been in the past. In the

    same way, Jen keeps using the sword in a way which is contradictory to its nature. When she

    sees Li's full might with the sword, she is shocked into understanding - she has had no idea of

    the power of the weapon, which, in the hands of Li, an agent for order, represents the power of

    society itself to shape the world. This is not a Western idea, but an Eastern one. Where, in

    Western myths we worship the lone hero, the outlaw, the one who stands outside of society, the

    point here is that the hero is the one who makes society function by accepting their place in it

    and functioning in their proper role.

    Li's death is punishment for his mistakes (or both he and Shu Lien's mistakes), but it also serves

    to bring Jen into maturity. It is only on seeing the Jade Fox's treachery, and witnessing Li's

    death, that she grows up and finally sees herself as part of society. For the first time, she acts

    out of concern for someone else by trying to save Li's life. This is her first act as a participating

    member of society.

    And here, finally, we come to the reason for the film's ending. Since the youth (= rejection of

    society) in her must metaphorically die for her to come into adulthood (= acceptance of her role

    in society), she casts herself over the cliff, a physical realization of that metaphor. Her slow

    descent into clouds on the screen leave us with some uncertainty; there is no body or funeral to

    provide us with definite closure. I suppose this is as it should be as this death is not a physical

    one. Lo's earlier story about such a leap, where wishes are granted, suggests that Jen might not

    (physically) die. But more importantly, the scene's unreality further suggests the realm of the

    symbol, the metaphor, where Jen's death to her impetuous youth is the same as all of our own

    deaths to our selfish, youthful selves, and our birth to maturity, when we take our place in

    society as citizens fulfilling our proper roles in the world.

    SUMMARISE YOUR THOUGHTS ON THIS ESSAYwhat did you find useful or interesting? What

    will be useful in terms of linking this to the way in which messages and values are delivered in

    the film?

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    Binary Opposition Claude Levi Strauss (see Bushi no Ichibun booklet forexplanation of this theory).

    As with most narratives, Crouching Tiger, Hidden Dragon is driven by opposing forces.However, the idea of good and evil is not as clear cut as it is in Bushi no Ichibun. Forexample, Jade Fox may appear to be a typical villain but there is some sympathy to behad for her tooshe was rebuked by Li Mu Bais master and refused training because of

    her gender; furthermore, she is betrayed by the person she is closest to (Jen). So whilst abattle between good and bad may be central to the story, there is the attempt within thenarrative to provide reasons behind the characters actions. Is Ang Lee trying to conveysomething to the audience here? Is there perhaps the message that we shouldnt see lifeas clear-cut and simple?

    Look at the binary oppositions found in the narrative of CrouchingTiger, Hidden Dragon and comment on how their inclusion helps tocommunicate the messages and values of the film

    GOOD VS EVIL

    YOUTH VS MATURITY

    EXPRESSED LOVE VS REPRESSED LOVE

    FREEDOM/REBELLION VS CONFORMITY

    Example: The plot of Crouching Tiger, Hidden Dragon is asynchronous but one of the

    recurring themes in all of the plot strands is that of freedom vs conformity (or ametaphorical state of imprisonment). Jen sees Shu Lien as the ultimate symbol of freedomand initially is someone she aspires to be. She also sees the Green Destiny as a symbol ofindependence she associates its power (or at least her perception of its power) with

    freedom. This is seen most clearly in a close-upwhen Shu Lien takes out the Green Destiny toshow Jen. She is framed centrally and we see hereyes follow the sword as it crosses the screen there is a visible longing and desire for the swordand all that it represents for her. This is further

    supported with the use of lighting. Lighting is dimin the background and as the sword crosses thescreen it seems to illuminate her face it hints at the promise and possibility of freedomand does ultimately become a key factor in Jens journey from reliant girl to independentwoman. This is seen in a later scene when Jen has stolen the Green Destiny for a secondtime and feels threatened by Shu Liens reminder that Jen has responsibilities she feelsas if Shu Lien is trying to take her new found freedom from her.

    Whilst Shu Lien represents freedom and theunconventional to Jen, in actuality she has chosen to liveby a code of conduct and repress her true feelings for Mu

    Bai. The Green Destiny also represents the promise offreedom for her but instead of possessing it she wantsit returned to Sir Te so that Mu Bai can finally give uphis warrior lifestyle and be with her. Mid-way through

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    the fight sequence between Shu Lien and Jen, shot-reverse shot (mid shots) is used tohighlight the anger Shu Lien has for Jen as she strokes the swords blade.She is abusingand tainting her chance of a freer life where she can be with the man she has loved formany years.

    As with most narratives, this inclusion of a binary opposition helps to create conflict anddrives the plot forwards. It helps to deliver the message that the concept of freedom can

    mean different things to different people. It also allows us to explore the possibilities andissues that freedom and conformity present. Jens desire for freedom is costly for thosearound her whilst Shu Liens self-imposed restrictions mean that she herself suffers(through the deprivation of love/affection).

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    Messages, values and ideology: audience reception

    International Audiences

    Using Stuart Halls audience theory model, lets take a closer look at how the filmsending could be read by a western audience.

    NEGOTIATED MEANING working in pairs, perform a close analysis on the endingsequence and consider how a western audience may interpret this ending. Whatmessages/values do you think they would take away from the film? You may want tostart with what your own reading was and why.

    Moving forwards what other ways may the film in its entirety be interpreted by awestern/international audience. Use close analysis of key scenes to support points.

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    NOTES FROM STUDENT-LED DISCUSSION:

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    National Audiences

    See L.S. Kims Crouching Tiger, Hidden Dragon: Making women warriors atransnational reading of Asian female action heroes for a comprehensive view of howChinese audiences may have read the film. Note any points of interest below:

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    Thinking Point after reading the article noted above, do you think the messages andvalues of the film are different for Chinese audiences? What do you think Chineseaudiences would have taken from Ang Lees film?

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    Style & Themeand its impact on messages and values ofthe film

    The feminist ideologyin Crouching Tiger is one of the key messages and themes in thefilm. Many of Ang Lees films develop challenging representations as part of a sensitive,romantic narrative that offer a more pluralisticanalysis of gender representation as inBrokeback Mountain

    (2005). Lee himself was a house-husband for six years whiletrying to get his film career off the ground and supported by his molecular biologist wifeas the only earner in the household. Crouching Tiger is about the lives of three womenwarriors - Shu Lien has quiet strength and dignity but is duty bound by historical andcultural patriarchal norms. She has wisdom and respect, her warrior background is as amachete fighter but she is love with Mu Bai. Ang Lee uses her to represent dignity andtradition in that she exhibits the complete repression of her feelings and does not wantto dishonor the memory of her murdered fianc but still yearns from freedom: So thefreedom you talk about (to Jen), I too desire it. But I have never tasted it.

    Jade Fox is an older, bitter and vengeful protagonist. As a governess by day and a thief

    and murderer by night, her gender prevents the acquisition of full Wudang skills; shewants power to rule and as a result is bitter and hateful. Your master underestimatedus women (to Mu Bai). Sure, hed sleep with me but he would never teach me. Hedeserved to die by a womans hand! Finally Jen, a protg of Jade Fox is a warrior whosecretly has developed more sophisticated skills. She is fiery, impetuous, and strongwilled but also beautiful encoding clear notions of difference to the other protagonists.She is in love with Lo and wants to break free from her patriarchal, traditional familydictated aristocratic chains. Jen is convinced the key to her freedom is remainingunwed.

    Dominant and oppositional readings of her final act suggest she on one hand is unableto bear the thought of what her yearning for freedom has caused or that her refusal tobe tied down and he embracing of individualism and control is represented by a finalact. One reading could suggest Jen wants to be reborn a man swinging wildly betweenthe hyper feminine (her love for Lo, her beauty and apparent fragility) and the hypermasculine (dressing as a ninja to steal the Green Destiny and knowing only anger andaggression). As a foil to these three female warriors is Li Mu Bai; despite being thegreatest of all warriors he relinquishes this role this status at the beginning of the filmrealising the pointlessness of his macho stereotypical gender role (some of the other malecharacters in the film have an almost buffoon like representation). Even on his death,Shu Lien instructs Mu Bai how to meditate out of his life but he chooses instead to

    confess his love for her. He notices and respects exceptional women which is animportant trait in relation to a feminist discourseinterestingly the film never questionsthe womens ability to be skilled warriors despite the patriarchal socio-cultural constructof the Qing Dynasty.

    Sisterhood within the three female characters us important but ultimately they all turnon each otherJen shows respect and admiration for Shu Lien in an early scene in SirTes palace when they discuss marriage and how society views it: I wish I were like theheroes in the books I read, like you and Li Mu Bai. I guess Im happy to be marrying.But to be free to live my own life, to choose whom I love, that is true happiness. Thistheme of freedom underpins the feminist narrative as all three women seekindependence and control over their lives. Objects and props as part of the mise-en-sceneare used as metaphors for this freedom but also for gender representation theGreen Destiny sword brings freedom and also is a masculine phallic symbolwhile Jens

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    comb, stolen by Lo (and returned, and then taken again) is a feminised object but alsohugely symbolic representing freedom, a lack of freedom and freedom regained.

    Although the film opens with two male characters, female narrative on screen time has amuch higher percentage than male characters. All three characters challenge patriarchalnorms while also pursuing, or yearning for personal happiness. Even when a charactermeets her death e.g. Jade Fox she is able to also avenge this death by fatally poisoning

    Mu Bai at the same time with a poison dart. Jens suicide has a dominant reading ofindependence and freedom in the same way Thelma and Louise (1991) make acollective decision to drive off the Grand Canyon hand in hand pursued by Harvey Keitelas their paternal, protective Police Detective. These representations, culturally howeverwould potentially be more recognisable to Chinese audiences where strong women werenot uncommon and in conflict with western, international stereotypes of Chinese womenas docile and subservient. The only contradiction to this would be the representation ofJen and male audiences although this would be a negotiated and certainly perhaps aminority reading.

    Lets take a close look at the themes and consider how micro-elements help to

    convey these key themes. You should reference specific scenes in the film.

    FREEDOM

    FEMINISTIDEOLOGY

    LOVE/PASSIONVS TRADITION

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    StyleIt is almost impossible to watch Crouching Tiger, Hidden Dragon without noticing (andadmiring) the visual style of the piece. Lee and his crew (including cinematographer,Peter Pau) have created a visually delectable film with a sumptuous colour palette andbreathtaking camera work. There is a definite link between the visual style of the filmand the key messages and values. In this section we will be exploring this relationship.

    CinematographyCamera WorkAng Lee uses the camera to show the contrast between freedom and constraint. This canbe seen more or less throughout the entire film through the choice of shots, angles andmovements. The camera work is very much in the style of a typical Wuxia filmplenty ofwide shots and soaring movements to capture the action but this is tempered by AngLees more typical style of slow, measured movement and close mid-shots which showexpressions (which we see plenty of in Sense and Sensibility).

    Here we see two close-ups of Shu Liens face as she speakswith Mu Bai (one is as they search for the missing Jen and

    the other is as they discuss Jens future). We see longingand restrained desire in these close-ups. The camera is stilland editing is used minimally (mainly shot, reverse shot) toshow this constraint reflected back by Mu Bai. Thisstillness and closeness creates a sense of intimacy between

    the characters and the audience we are privy to apersonal and private moment. Through these choices thereis the suggestion that Mu Bai and Shu Liens choice to notbe together because of loyalty to her dead fianc is sensibleand mature. There is a certain calmness to these shots butthere is also frustration. Whilst the quiet restraint of thecamera may capture the unrequited romance of Mu Bai and

    Shu Lien, it also highlights their inaction especially if wecompare it to the romance of Jen and Lo.

    Here we see plenty of sweepingcrane shots and wide angles toshow the wide open space theyoccupy a metaphor for theirlove in the desert. They are notrestrained here and for a brief

    time are able to live in the moment it is exciting and daring.When tighter mid-shots are used, we see Jen looking off into the distance and Lo looking at her. Hereis the suggestion that this love isnt enough for Jen she yearns for something more.

    Jen lives a life of expectations and longs for independence and freedom. There are moments in thefilm where aperture framing is used to frame Jen in heraristocratic life. Unlike Bushi no Ichibun where aperture framingis used to create a sense of belonging and safety, Lee uses apertureframing to suggest imprisonment and restraint. As the narrativeprogresses and Jen finds freedom in martial arts, the shotsbecome freer and the camera seems to move with herthis can be

    seen most prominently in the tavern fight sequence. The camera twists and turns to mirror hermovement. Crane shots are used to show her spectacular movement through the tavern and alsolater when she battles with Mu Bai (refusing to be mentored by him). This unrestrained freedom isexciting and exhilaratingit captures Yuen Woo-Pings choreography to perfection. However, one of

    the films key messages is that freedom comes with responsibility. HOW DOES THECINEMATOGRAPHY REFLECT THIS IN THE LATTER STAGES OF THE FILM?