Globalizing the Locality: A Cultural Comparison of Ang Lee ... the Locality... · Globalizing the...

Globalizing the Locality: A Cultural Comparisonof Ang Lee’s Crouching Tiger, Hidden Dragon

Erika Junhui Yi�e University of Kansas

“Ididn’tseeanytigerordragoninCrouching Tiger, Hidden Dragon;thenIgetit–theyallcrouchedandhid.”

ThisjokeprovokedawaveoflaughterduringanawardceremonyintheUnitedStates,butwhenIwatcheditontelevision,myresponsewasasatiricsneer.Thisisbecausethephrase“crouchingtiger,hiddendragon”inChineseisanoldidiom,whichshouldratherbeunderstoodbyitsmetaphoricalmeaninginsteadofinterpretingitliterally,asthejoketellerdid.Thesamejokecreateddifferentreactionsamongaudiencesofdifferentregions;similarly,thesamefilm– Crouching Tiger, Hidden Dragon

(Crouching Tiger)–receiveddiverseresponsesintheUnitedStatesandChina.ThereviewsfromtheUSAwerealmostone-sidedlypositive,yetinChina,thefilmreceivedonlymediocrereviews,withthelimitedattentionitdrewamongfilmcritics.

Crouching TigeristhemostsuccessfulChinese-languagefilmintheWest.1AmongalltheawardsCrouching Tiger received,themostnotableonesarethetwoawardsfromtheGoldenGlobe,includingbestmotionpicture,andfourawardsoutoftennominationsinAcademyAwards:BestForeignPicture,BestCinematography,BestArtisticDirection/CostumeDesign,andBestOriginalMusic.ItalsopocketedseveralmajorawardsinHongKongFilmAwardsandTaiwanGoldenHorse

Awards.2Intermsofboxoffice,Crouching Tigerwasalsoabigwinner.Itisthehighestgrossingforeign-languagefilminNorthAmericaandBritain,makingover100millionU.S.dollarsinboxofficerevenue.3

SowhywasCrouching TigersuchahitintheU.S.?WhatwerethecriticalissuesthatmadeitsowellacceptedandapplaudedintheU.S.?[readaplotsummaryofthemovieinAppendixA]

Reviews from USA

Crouching TigerreceivedmainlypositivefeedbackintheveryfirstroundofreleasesintheUnitedStates.Americanaudiencesweredeeplyimpressedbythedance-likechoreographyandtheintertwinedlovestoriesamongcharacters.ThereviewsofthemovieIexploredarefromrespectedandpopularmediaincludingTIME,Sun Times,San Francisco Chronicle,Washington Post,CNN.com,andThe New York Times.ThepraisesinvolvedthechoreographyandtheromanceofLiMuBaiandShuLien,andJenwithLo.RogerEbert,theauthorofYour Movie Sucks,saidthatthefilmwas“thebestmartialartsmovieshavenothingtodowithfightingandeverythingtodowithpersonalexcellence”.4Similaropinionswereexpressedbyothercritics.TatarasaidthatCrouching TigerwasmorethanaKungFumovie,itwasa“sweeping,dream-likefable”with“atouchinglovestory”.5Thesecriticswereimpressedbythesheergracefulnessoftheiractions.Ebertexplained“asthecharactersrunupthesidesofwallsandleapimpossiblyfromonehousetoanother,thecriticsapplauded,somethingtheyrarelydoduringafilm,andIthinktheywererelatingtothesheerphysicalgraceofthescene.Itisdonesolightly,quickly,easily.”6Thefightingscenes,suchasaroof-topchase,steppingonthesurfaceofwatertomakejumps,andthefamousbambootopswordfight,werepraisedasmarvelous,remarkable,andgraceful.

Nonetheless,thereviewswerenotonlyaboutthespectacularmovesinthechoreography,butalsoaboutAngLee’sandYuenWoPing’sabilitytotranscendtheactors’movementsintosomethingmoreemotionalandsentimental.YuenWoPing’snamewasmentionednolessthanAngLee’s,becausehismasteryinchoreographydirectionwaswidelyrecognized.Mostofthereviewspraisedtheactionscenesnotonlybecausethegracefulmovementofmartialarts,buttheyalsoemphasizedthatYuenWoPingwasabletocombinethebeautyofmovementwithAngLee’ssensibilityinexpressinghumanemotion.Asaresult,thefightingsceneswere“likeconversationscarriedoutalmostentirelyinmovement”.7SinceYuenWoPingwasthechoreographerofThe Matrix,itisquiteconvenienttodrawcomparisonsofthefightingscenesbetweenthetwofilms.ItseemedthattheactionscenesinCrouching TigerwerethoughttobebetterthanthoseinThe Matrix,becausethemartialartsmovementswere“bodilyrepresentationsofthecharacters’emotionalviewpoints”.8 RomancewasanotheremphasisinthemoviereviewsacrosstheU.S.ThethemeofunspokenandsuppressedlovebetweenLiandShuLienismentionedagain

andagaininthefilmreviews.Thecriticsregardedtheirlovestoryasthe“humanelement”inthemartialartsfilm.9ThiswasconsideredtobeveryrareincomparisonwithotherAsianKungFumoviesreleasedaroundthatperiod,forexample,JackieChan’sRush HourandChowYunFat’sBulletproof Monk.TheromanticactionswerethoughttobeaWesternelementinthefilm.AccordingtoHowe,LiandShuLienwere“romanticallyconstrainedbycustom,”whichwasaclassicJaneAustentheme.10FilmcriticswerepronetodrawcomparisonsbetweentheromancesinCrouching TigerwithJaneAustenbecauseAngLeewasthedirectorofthenovel’sadaptation,Sense and Sensibility.AlthoughCrouching Tiger

Relevant Rhetoric Vol. 2 2011 Globalizing the Locality 1

explorestwoloveaffairs,therelationshipbetweenLiandShuLienisfocusedonmoreexplicitlyinthereviewsthanthepassionbetweenJenandLo.Theunrealized11andunresolved12deepfeelingsbetweenLiandShuLienwasbroughtupineveryreview,yetthecriticsseemedtoputmoreemphasisonthisrelationshipovertheyoungandpassionatelovebetweenJenandLo.AlthoughtheromanticstoryofJenandLotookupasignificantamountoftimeinthefilm,itisnotthefocusofthereviews,andinterestingly,Jen’spoliticallyarrangedmarriagewasmentionedonlyonce.

Westernized Elements in Crouching Tiger

Crouching Tiger’ssuccessinaglobalmarketliesintheadaptationandadjustmentoftheChineseculturetoamulti-culturalandinternationalenvironment.AngLeeabsorbednewelementsintotheWuxiafilmgenre–atraditionalChinesegenrefeaturingchivalrouswarriorsservingjusticeaccordingtotheirowncodes,whichIwillprovideamoredetailedillustrationinlatersections–fromWesternculture,bysodoing,hewasabletoattractaudiencesfromtheWest.AngLeehimselfadmitted:

WithCrouching Tiger,forexample,thesubtextisverypurelyChinese.ButyouhavetouseFreudianorWesterntechniquestodissectwhatIthinkishiddeninarepressedsociety–thesexualtension,theprohibitedfeelings.Otherwiseyoudon’tgetthatdeep.Somepeopleappreciatedit;othersdon’tbecauseittwiststhegenre.It’snot“Chinese.”ButtobemoreChineseyouhavetobeWesternized,inasense.You’vegottousethattooltodiginthereandgetatit.13

LeesuggeststhathedistortedtheWuxiagenretocatertoWesterntastes,butalsotomakeit“moreChinese.”ItisevidentinthefilmreviewsthatwhatattractstheaudiencesintheU.S.istheinherentexoticnessinchoreography,combinedwiththefamiliarthemeofloveandromance.Inthefollowingparagraphs,IwillcomparethenarrativesofCrouching TigertothetraditionalWuxiagenresothatonecanseehowtheWesternelementsinthefilmmadeitdivergefromthetraditionalgenre.TherearetwoWesternelementsidentifiedinthestory:the

entangledromanticrelationshipsamongthecharactersandthefeministthemeofthestory. TheattractionofCrouching TigerforAmericanaudiencesliesintwoplaces.First,itisinthefightingbetweencharacters.Thedance-likemartialartsmovements,thegravity-defyingjumps,thedifferentancientweaponscharactersuse,thepoeticbeautyofthelandscapesandthemelancholybutmelodiousmusic,allofwhichareessentialChinese,isnewandexcitingtoWesternaudiences.Second,itisintheentangledrelationshipsbetweenthecharacters,thatWesternerswouldbefamiliarwith.Asthestoryunfolds,oneseestherepressedlovebetweenLiMubaiandShuLiensurfaceonemomentandsuppressedthenextmoment;itisnotuntiltheveryendthattheytelleachothertheirtruefeelings.ThepassionbetweenJenandLocontrastwithLiandShuLien,makingthementhusiasticandadventurouslovers.LofollowedJenfromthedeserttothecapitalcity,askinghertorunaway;whileJenisdisgustedwithherarrangedmarriage,shefinallytakesoffonherown.ThetworelationshipsaregiventhemostattentionwhiledownplayingLiMubai’srevengeforhisdeadmaster.UnliketheoriginalhappyendinginthenovelCrouching Tiger,thelovestoriesinthefilmdidnotendwell.LiMubaidiedwhenexpressinghislove,andJenjumpedoffacliff,leavingherlifeordeathunknowntotheaudience.Theendingdivertsfromtheoriginalnovel,andalsofromthetraditionalWuxiagenre,inwhichgoodpersonsmostlyendupbeinghappy.Becauseoftheinconclusiveending,thethemeofthisfilmisnolongertherighteoustriumphovertheevil,thecommonthemeofWuxiafilm,butameditationonloveandlife.ThegrandshowdownbetweengoodandevilisaveryimportantthemeintheWuxiagenre,sinceevilisrecognizedaspeoplewhobreaktheunwrittenrulesofGianghu,andtherighteousshouldservejusticetoupholdGianghurules.ThethememightnotresonateverymuchwiththosewhodidnotgrowupwiththeWuxiagenreandthusisdownplayedinCrouching Tiger.However,thethemeofindividualspursuingtrueloveandfreedomisemphasized,itseemstoappealmoretotheWesternaudiencesbecauseoftheinherentindividualism.

Meanwhile,therelationshipbetweenLiMubaiandJenisambiguousinnatureaswell.ThefightbetweenLiandJenisalwaysoverthepossessionoftheswordGreenDestiny,aphallicsymbolthatimpliescertainsexualtensionbetweenthem.ThereisnodoubtthattheyoungandrebelliousJenattractsLi,althoughLimakesitveryclearthatallhewantsfromJenistoteachher,thedelicateexpressionbetweenthemseemstosuggestsomethingmore.Moreover,inthefinalconfrontationbetweenLiandJen,thegirlisstandinginwaterandtriestoseduceLi.SuchtensionisrareintraditionalWuxiafilmsbecausetheheroesandheroinesaresupposedtobea“wuxia”,aknighterrandwithchivalrygraces,whooughtnottobedisplayingaffectionstowardsothercharactersoftheoppositesex.

AnotherobviousWesternelementinCrouching Tigerisfeminism.AlthoughfemaleprotagonistsarenotrareintheWuxiagenretheamountofattentiongiventofemalerolesinCrouching Tigerisveryrare.14AccordingtoLee,inearlierWuxiafilms,the“good”womanwarriorsareoftenonthecourseofrevengefortheirparentsorhusbandswhoarepiousandvirtuous;andthe“bad”womenareoftenportrayedasflirtatiousanddangerous.15However,thefemalecharactersinCrouching Tigerarenotsimply


virtuousorlustful,theyaremorecomplicatedthanthestereotypicalgenderimagesinWuxiafilms.Threegenerationsoffemales–JadeFox,ShuLien,andJen–arefeminists,eachintheirownway,andallofthemarecompetentwarriorswhilemaintainingthegraceoffemalesintheirownage. AlthoughJadeFoxisthevillaininthisfilm,sheisaninterestingcharacter.InthefirstencounterwithLi,JadeFoxcallsLi’smasternamesbecauseevenifshesleptwithhim,herefusedtoteachherthesecretofWudangswordsmanship.TheoutlookofJadeFoxremindsmeoftheimageofamadwomanwhoisthevictimofpatriarchalrulesinGiangHu.WhenJadeFoxiswithJen,shelooksmorelikeamotherfigure,andshehasbeenteachingJenmartialartssinceJenwasachild.

ShuLienistherepresentationofawomaninthemiddle:sheisapowerfulwarrior,aloyalfriend,andavirtuouswifewhowouldratherkeepherhonorcodestoherlatehusbandthantopursuetruelove.ShuLienisanidealwomanwarrior.AsrebelliousandarrogantasJen,sheregardsShuLienasarolemodelandoldersisteratthebeginning.ThefightbetweenShuLienandJencanbeinterpretedasthesymbolicstrugglebetweenthetraditionalandtheadventurous.ShuLienismoreskillfulinmartialarts,butalltheweaponssheusesaredestroyedbytheinvincibleswordJenstealsfromLi.However,thetwomakepeaceagainattheveryend,whenbothofthemhavefound

somethingtheyhavebeenignoringordespisingforalongtime.ForShuLien,itisthehonestytofaceherlove.ForJen,itmightbethedisillusionofafreelifeinGiangHu,aswhenShuLientoldherGiangHuhasitsownrulesthatshecannotbreak.

ThecharacterofJen,ontheotherhand,inheritssomeofJadeFox’scunningnessandrebelliouspersonality.UnwillingtosubmittoLiMubai,shecallsWudangmountain,whereLiwastrained,a“whorehouse”.Shedespisesmaleauthorityingeneral.OneinterestingsceneofJenisthatshefightsoffaninnfullofmalegangsterswithextremeease.Duringthefight,shealsocomposesapoem:“WhoamI?Iam…IamtheInvincibleSwordGoddess.Armedwiththeincredible…GreenDestiny.BeyouLiorSouthernCrane(Li’smaster)…loweryourhead…andaskformercy.Iamthedesertdragon.Ileavenotrace.TodayIflyoverEu-Mei.Tomorrow…I’llkickoverWudangMountain!”.16Rudeandwild,sherefusestobetamedbyanymale,evenherloverLo.Herrebelliousnaturemightbeoneofthereasonsshejumpsoffthecliff–tohavetheultimaterealfreedom,eventhoughitmightmeankillingherself.

AngLeeintendedtotargetamixtureoffivedifferentaudiencegroups:“thearthousecrowd,theyoung,females,actionlovers,andthepopcornmainstream”.17Theactionloverstargetgroupmightbeattractedbythemartialartsfighting;andthepopcornmainstream,presumablyinAsiamightbeattractedbythestarpowerofChowYunFatandMichelleYeoh;Youngpeopleandfemalesmightfindtheirinterestsmoreinromanceandthefeminismtheme,whilethearthousecrowdmightbedrawnbyCrouching Tiger’sexoticnessandpoeticaesthetics.Thetargetaudiencegroupisamixtureofpeoplelivingindifferentcultures.ToappealtothesegroupsmeantmixingelementsofChineseandWesternstorytelling,makingitnolongerapureandtraditionalWuxiafilm,butaglobalizedlocalfilm.However,itisexactlysuchanactofdepartingfromtheso-calledauthenticandtraditionalChineseWuxiafilmgenrewhichprovokednegativereviewsfromChina.

Early Chinese Criticism in Comparison with Wuxia Genre

SowhatwerethecriticalissuesthatmadeCrouching TigerabustinChina?Beforeansweringthisquestion,onemustfirsthavesomeunderstandingofChina’straditionalgenreofWuxia,inwhichCrouching Tigeroriginatedanddivertedfrom.

The genre of Wuxia.

ThestorylineofCrouching Tiger followsonestolenswordandtworomances.AdetailedplotcanbefoundinAppendixA.TheromancepartisnotgenerallyemphasizedinWuxiafilms,butthestoryofretrievingafamousstolenobjectisindeedatraditionalsetforWuxiafilm.WuxiafictionsandmoviesaredeeplyrootedinChinesepopularculture,thehistoryoftheformercanbetracedbacktotheTangdynasty,aroundninthcenturyA.D.18AccordingtoDavidBordwell,theauthorofPlanet Hong Kong: Popular Cinema and the Art of Entertainment,aWuxiaisa“knight-errant”with“knightlychivalry.”19Fictions,films,andTVshowstellingthestoriesofWuxiaarereferredtoasWuxiagenreingeneral.TheheroorheroineinWuxiafictionsandfilmsisalwaysaskillfulfighter,heorshealsohasthesenseofresponsibilitytoservejusticeandfightfortherighteouseness,thecommongood.MaioagreesthatthespiritofaWuxiaistochallengeunjustinstitutionsandneversurrendertosuppressionandunfairness.20ItseemsthatthetwokeycharacteristicsofaWuxiaaresuprememartialartsskillsandarighteousheart,whichshare

certainsimilaritieswithWesternchivalryandJapanesesamurai.However,WuxiacultureisinfluencedbyConfucianism,whichemphasizescollectivityoverindividualism.21 AtthebeginningofCrouching Tiger,LiMuBaiexpresseshiswillingnesstoleaveGiangHu(orJiangHu).GiangHuistheworldwhereallthewarriorsinWuxiagenrelive.TheliteraltranslationofGiangHuis“riversandlakes.”Itisanindependent


worldoutsideofthesocialsystem,“analternativeworldinoppositiontothedisciplinedworldofhomeandcountry.”22AlthoughGiangHuismorelikeanimaginaryworld,thebackgroundisoftenquiterealistic.Historicalreferencesorallusionstoactualpersonsandeventsaddbelievabilitytothestories.Moreover,thosestoriesoftenoccurinday-to-dayplacesinancientChina.AccordingtoMaio,GiangHu’s“substantialreality”isusuallyinsmallinns,woods,templesordarkalleys.23AsShuLienpointsoutinCrouching Tiger,GiangHuhasitsownruleandlaws.MoralityandhighmartialartistrywillberespectedinGiangHu,whichiswhyLiMuBaihasagreatreputationinGiangHu.Heisnotonlyaskillfulswordsman,butalsoanobleperson.IfsomeonebreakstheGiangHurules,someone

suchasJen,theheroineinCrouching Tiger,punishmentorrevengeisoftenexpected.

Early reviews in China.

WiththeconceptofWuxiagenreinmind,itwillbeeasiertoseewhytheinitialChinesereviews,publishedaroundthetimeofitsrelease,werenotveryfavorabledespitetheunprecedentedsuccessofCrouching TigerintheWesternfilmmarket.Indeed,someChinesemoviefansimpliedthatCrouching TigerdoesnotdeservetheAcademyAwardforBestForeignLanguagefilmbecausetherewerebetterWuxiafilmsthanit.24BeforetheannouncementoftheAcademyAward,Crouching TigerreceivedlittleattentioninChina,thecinemaboxofficewasnotaspromisingasitshouldhavebeen,giventhefactthatalltheactorsweresuperstarsinAsia.TheboxofficeofCrouching TigerinHongKongandmainlandChinawasaround3.3million,comparedtothe81millioninNorthAmerica,atthattime.25

Comparedwitharatingof8/10forthefilminIMDb(TheInternetMovieDatabase),theratingforCrouching TigerinadominantChinesefilmsite,MTime,is6.8outof10,thegeneralreviewofwhichis“justso-so,mayaswellseeit”(Trans.).InitialreviewsfromChineseviewerswerenotfavorable,theircondemnationsordissatisfactionsconcernmainlythreeaspects.ThefirstandthemostseriousaccusationtowardsCrouching TigeristhatAngLeedistortedthetruemeaningofChineseculturetocatertoWesternaudiences.26OneofthemostextremecondemnationswasfromZhangYimou,afamousfilmdirectorwhoalsodirectedtheopeningceremonyofBeijingOlympicGames.Zhangthoughtthefilmwasmadewith“amisunderstandingofthetraditionofthegenreandwiththecomplacentdesireofmakingafilmforforeigners.”27Moreover,accordingtoaresearchbyKen-FangLee,manymovieviewersinHongKongalsothoughtCrouching TigermainlysatisfiedWesternviewerswhodidnotknowmuchaboutChineseculture.28TheexoticnessmayappealtoWesternaudiences,butthehomelandaudienceswillnotfeelthesame. AnotherwidelydebatedissueconcerningCrouching Tigerwasthemartialartsstyle,whichmanybelievedalsodistortedtraditionalWuxiagenre.Unliketheone-sidedpraiseintheU.S.,themartialartsinCrouching Tigerencounteredcriticismintermsofbothqualityandthequantity.ComparedtopreviousWuxiafilms,Crouching Tigerhassignificantlyfewerfightingscenes,andthemotionofthefightersissoftandslow.Manyviewersfeltboredwhenwatchingthosescenes,andclaimedthatthefilmwastooslow,withtoolittleaction.29LawKar,ahistorianattheHongKongFilmArchive,saidinThe New York Times:“InChinesemartialartsfilmsyoudon’tlettheactionslowdown;youjustfeedthemmorefights.AngLeeknowshowtoweaveinnerdramawithouterdrama.ThatmaybetheHollywoodway.”30Besides,althoughfightingonroofsandontopofbambooswasnoveltoWesternaudiences,thosescenesarealmostclichéforChineseviewers.31Furthermore,someviewersthoughtthatflyingfrom

roof-toptoroof-topwastoounrealistic,andalmostridiculous.32WhenCrouching TigerwonAcademyAwards,itreceivedalotofnews

coverage.However,mostofthereportsaboutCrouching TigerinChinesemainstreammediafocusedmainlyonitsawards(i.e.“‘Crouching’TigermakesHKawardkilling”),boxoffice,andothereconomicinfluences(i.e.“Tigermoviemakershuntfordealsatfilmfair”),ratherthanthestoryitself.ThereisnodoubtthatCrouching Tigerwasoneofthebiggestwinnersofthatyear,itreceived4AcademyAwards,andanother73wins,amongits91nominations.33TheearliestnewsfromChinesemediaIcantracebacktoisafter2001.ItseemsthatbeforetheAcademyAwardceremony,littleattentionwaspaidtothefilminChineselanguagenewsmedia.ItappearsthatChinese

reviewsofCrouching TigerregardeditasjustanotherWuxiafilm,amongthousands.AnarticleinChina Dailysaid“moviefansshowedlittleexcitementwhenthemoviewasannouncedasthewinnerofthebestforeignfilmaward,thoughtheawardceremonyitselfdrewhugeattention.”34ItisnotanexaggerationtosaythatwinningAcademyAwardsmadeAngLee’snameappearontheheadlineofeveryChinesenewspaperovernight.

TheattentionCrouching Tigerreceivedraisedhopesthatthefilmwould“reactivate,”35or“lightup”36HongKong’sfilmindustry.Thefilmwasalsousedasapromotionforfilmproducerstomakebetterdealsatfilmfairs,37aswellasfreeadvertisementfortourism.38Inthenews,Crouching TigerwasseenasanactionmoviethatbroughtaneconomicboosttotheChinesefilmindustry,butnotasuccessfulart-houseorpopularfilminChina.DespitethefactthatCrouching TigerwasabighitinotherAsian


areassuchasThailand,Singapore,andKorea,inChina,thebirthplaceofWuxiafilm,itsboxofficewasfarlessthantheotherHollywoodmademovie,Mission Impossible 2,releasedaroundthesametime.39TheinitialresponsesfromChineseaudienceswereunfavorablebothintermsofboxofficeandaudiencereviews.

However,severalyearslater,somefilmviewersinChinabegantolookbackatCrouching Tigerwithamoreacceptingattitude.Toillustratesuchchange,IcollectedfivemostfrequentlyhitonlinefilmreviewsthatmightbeabletorepresentthenewreadingsonCrouching TigerfromtwomajorChinesefilmreviewwebsitesMtimeandDouban.ThesereviewswerenotwrittenbyprominentfilmcriticsinChina,butbyordinaryfilmviewers.Althoughtherewerestillcondemnationsonthefilm,positivevoicesbegantoemerge,someofwhichechoedwiththefilmreviewsintheUnitedStates,andsomeevendugdeeperthantheAmericanreviews.

Table 1: Links to Relevant Movie Trailers

Traditional Wuxia, New Dragon Inn trailerhttp://www.youtube.com/watch?v=rB92WVTuXuQ

Crouching Tiger trailerhttp://www.youtube.com/watch?v=oEaGsdiA0y0

An imitation of Crouching Tiger film: Hero trailerhttp://www.youtube.com/watch?v=6_y9Ka0RITw

Whathappenedduringtheseyears?WhatbroughtaboutthechangeinattitudestowardsCrouching Tiger? Ishalladdressthesetwoquestionsseparatelyinthefollowingsections.

Re-visiting Crouching Tiger: Chinese reviews after the Oscar Nominations

Despitethecriticismtowardsthefilm,Crouching TigerwasaphenomenalfilmfortheChinesefilmindustryingeneral.ThevictoryofthefilmacceleratedtheglobalizationprocessintheChinesefilmindustry.ThefollowingsectionisadiscussionofatimeperiodaftertheAcademyAwardceremonyofCrouching Tiger,duringwhichtheharshcriticismstowardsthefilm

declinedandmoreCrouching-Tiger-likefilmsmushroomed.MarkLandlerwroteinTheNew York Times:“inthecopycatworldofcinema,itwasinevitablethatsomeonewouldtrytoreplicatethesuccessofCrouching Tiger, Hidden Dragon.”40ThearticlecoveredaveryinterestingphenomenoninHongKongInternationalFilmandTelevisionMarketafterAngLee’striumph.Thefilmmarketwasbythenfilledwithmartialartsmovieswitha“Dragon”and“Tiger”intheirtitles.ThefilmbuyersfromprominentHollywoodfilmcompanies,suchMiramax,MGM,andColumbiapictures,werelookingforAsianfilmsthathadpotentialtobecomethenextCrouching Tiger.Inaword,theimitationofCrouching TigerfloodedthefilmmarketinHongKong.

BarbaraRobinson,themanagingdirectorofColumbiaPicturessaid:“Everybodyislookingtomakethenext‘Crouching Tiger,’It’sthesameasifyouhaveahugelysuccessfulvolcanomovie.Yousuddenlygetthreemoviesaboutvolcanoes”.41SoitisnotsurprisingthattherewerefamousdirectorsmakingseriousattemptstorepeatCrouching Tiger’sglory.Curiouslyenough,ZhangYimou,oneofthemostfuriousattackersofCrouching Tiger,madehisfirstmartialartsfilmrightafterAngLee.ThecastofthefilmHeroesincludedZhangZiyi,oneoftheleadingactressesinCrouching Tiger,aswellasTonyLeung,MaggieCheung,andJetLi,allofwhomarehighlyreputableinChinaandaroundtheworld.HeroesdidhaveitsmomentwhenitwasnominatedfortheBestForeignLanguageFilmintheAcademyAwards,however,thevictorydidnotarriveuponZhangYimou.Afterwards,ZhangmadehissecondattemptbyfilmingThe House of Flying Daggers.

Meanwhile,ChenKaige,whosharesequalpopularityinfilmmakingwithZhang,releasedhismartialartsfilmThe Promise,onlytoreceiveafailureinbothboxofficeandfilmreviews.SimilarattemptsinmakinganotherawardwinningmartialartsfilmincludedyetanotherZhangYimou’sfilmCurse of the Golden Flower;FengXiaogang’sThe Banquet,anadaptionofHamletintothesettingofancientChina;andthelaterfilmslikeFearless, Yip Man,tonameonlyafew.AllthesefilmsareWuxiagenremartialartsfilms,theshadowsofCrouching Tigerareevident.TheimitationfilmstriedtotakeupandapplywhatappealedtotheglobalaudienceinCrouching Tiger:Thechoreographydesignsofthesefilmsfocusmoreontheemotionandaestheticsthantheaction;thesceneryofancientChinabecomesomewhat


mythicalandpoetic,andlessrealistic;thenarrationoftherelationshipsamongcharacterstakeupamoresignificantamountoftimethanthemartialartsaction.ButthefactisthatmostoftheCrouching TigerimitationscouldnotbeputontothesamelevelwithCrouching Tiger.

MaybeitisbecauseofthedisappointmentwitheachfilmthatwasclaimedtobethenextCrouching Tiger,whenreviewerslookbackatCrouching Tiger,theirattitudesstartedtochangesubtly.NegativereviewsarenotmuchdifferentfromthereviewsintheinitialresponsestowardsCrouching Tiger:slowpace,distortionofthetraditionalWuxiagenretocaterWesterntastes.Onemorenotableaccusationisthattheactors’realaccentsaretoomuchadistractionforChineseaudiences.MostChineseaudiencesrecognizedtheheavyaccentoftheactors.42Althoughsomearguedthattheaccentsrepresentculturaldiversity,43ChowYunFatandMichelleYeoh’sCantoneseaccent,andChangChen’sTaiwanaccentwereinconsistentwiththecharacterstheyrepresented,whoshouldspeaksomethingclosertostandardMandarin.44Theactors’accentsweretoostrongtobeunderstoodeasily.ArevieweradmittedthatevenasaChinese,heorshecouldnotfullyunderstandthescriptswithoutlookingatthesubtitles,andIsharedthesameexperience.Besidestheaccents,onereviewersaid:“Theactorshavetoomanyaccentsthatshouldn’tbethere,buttheylacksomethingthatshouldbethere,forexample,facialexpressions,andproperpaceinspeaking.”45Lualsodrewattentiontotheactors’accents,whoagreedthat“theiraccentsbreachtheruleofplausibilityandverisimilitudeandindeedelicitedgigglesfromChineseaudienceswatchingthefilm.”46 However,positivereviewsaboutCrouching Tigeralsostartedtoemergefromfilmaudiences.Sometenyearslater,thereviewerslookedbackatCrouching TigerandfoundthemselvesagreeingwiththeWesternpraiseofthepoeticsceneriesand

theaestheticbeautyofchoreography.Thefightingwasnowseenas“elegantandbeautiful,”insteadof“slowandunrealistic.”OnerevieweragreedwithTanDun,themusiccomposerofCrouching Tiger,whosaidthattheKungFuinCrouching Tigerwasnotsupposedtobeatuppeople’sbody,butto“touchtheirsouls.”Anotherreviewerthoughtthefightingscenesweretherealizationofwhat’swrittenintheoriginalnovel,includingthecharacters’thoughtsandemotions,themusicfurtherenhancedtheexcitementinthefight.Thereviewthenprovidedexamplesofdifferentfightsbetweendifferentcharacterstoshowhowthefightingstylechangedalongwithcharacters’emotions.Evenforthosewhothoughtthefightingsceneswerenotasgoodastheclassicmartialartsfilms,Crouching Tigerwassupremeinthegenrebecauseofitsdeepandprofoundhumanisticmeanings.

Inmanyofthenewreviews,reviewerstriedtoexplorethedeeperculturalimplicationshiddeninCrouching Tiger.MostofthereviewsinthiscategorywerewritteninChinese,soIprovideapartialtranslationorsummaryoftheirreviews.Somebelievedthatthefilmis“abridgelinkingOrientalandOccidentalcultures”.47OnereviewerthoughtthatCrouching TigermeditateduponadeeperandrichermeaningofWuxiafilms,goingbeyondthesimplisticfighting.SomeevenregardedCrouching TigerarevolutionaryWuxiafilmthattranscendedWuxiagenre.48SupportersofthisclaimarguedthatthehumanisticconnotationwasunprecedentedinthehistoryofWuxiafilms.Onewrote“themainstorylineofthefilmdiffersfromordinaryWuxiafilms’goodfightsevil,althoughtheconflictbetweenLiMubaiandJadeFoxbelongstothatcategory,thisconflictisnolongerthecenterofthestory;onthecontrary,therelationshipamongLiMubai,Shulien,andJenisthefocus.”49

AnotherreviewnotedthefocusofCrouching Tigerwasontheinnerstruggleinthecharacters,whichenrichedthefilm.TheTaoismthemeofCrouching Tigerwasalsohighlypraisedbythereviewers.Forexample,inthedyingsceneofLiMubai,hetoldShuLienhistruefeelingsabouther:“Iwouldratherbeaghost,driftingbyyourside…asacondemnedsoul…thanenterheavenwithoutyou.”50Inmanyreviews,hisdeathalone,withJen’sjumpingoffthecliff,revealedtheultimatethemeofCrouching Tiger:theemptinessandvainnessofhumanlife,whichwasthecoreofTaoism.OneofthereviewersarguedagainstthecriticismthatCrouching Tiger’sactionsdefythelawofgravity,thereviewersawtheunrealisticmartialartsstylewasametaphorfortheTaoismbelief.Thewarriorsjumpedontopofbambootreesasiftheycouldfly,becausetheywantedtoflyoutofthecageintheirownheart.51Ingeneral,laterreviewsfromChineseaudiencespaidmoreattentiontotheculturalimplicationsofCrouching Tigerandlesstothechoreography.SuchemphasisresonateswiththemoreacceptedpraisesthatthefilmisrevolutionaryinWuxiagenre.

Globalizing the Crouching Tiger

ItisintriguingtodiscoversuchaturninthefilmreviewsinChina.Thetimegapisespeciallyinterestingbecauseitseemsthatastimegoesby,moreandmorepositivereviewsemerge,especiallywhenthereviewsweresodramaticallynegativewhenitwasreleasedintheatres,evenafterAng’svictoryinAcademyAwards.ThechangeofattitudeinChineseviewerscanbeseenasanotherresultofglobalization,inthatthelocalcultureiseventuallyglobalizedandsomehowmergedwiththeglobaltrend.AlthoughtheconceptofglobalizationisoftenthoughttobetheprocessofWesternizationorevenAmericanization,thisfilm


seemstosuggesttheopposite.Intheirpaper,WuandChenarguethatthesuccessintheUnitedStatesofCrouching Tiger–amandarinsubtitled,Chinesemartialartsfilm–istheresultofaglobal-localallianceinproductionthatsuccessfullyestablished“culturalauthenticity”totheWesternaudienceswhileitstillmanagedtomaintainacertainsenseoffamiliaritytoWestern

audiences.52Crouching Tigerisanexampleoftheglocalizationorhybridizationtheory,whereintheprocessofglobalizationisaplural,multidimensionalprocessinsteadofaone-dimensionalprocess.53Duringthisprocess,Westernculturedoesnottakeoverorstandardizeotherculturesintoonebig,unifiedworldculture;instead,otherculturesabsorbWesternelementsintotheirown,andthenon-WesternculturesexertuniqueinfluencestoWesterncultureaswell.ThewayCrouching Tiger successfullycapturedAmericanaudiencesandpermanentlyinfluencedtheChinesefilmindustryseemstobeasuitableexampletoillustratethisprocess.

Globalization verses Glocalization/Hybridization

Acommonbeliefofglobalizationisthattheworldisbecomingstandardizedthrough“atechnological,commercial,andculturalsynchronization”fromtheWest.54Giddensbelievesthatglobalizationisoneoftheconsequencesofmodernity,inwhichlocaldevelopmentsarelargelyshapedbyeventshappenedinadistance,pressuringto“localautonomyandregionalculturalidentity.”55Inhisview,globalizationwillresultinaunifiedlargelyWesternworldwithno“others.”56ThisapproachdefinesglobalizationisthesameasWesternization,orevenAmericanizationduetothecapitalistandindustrialistnatureofmodernity.Inaword,theviewsuggeststhattheeconomicsuccessofAmericaequalsculturaltriumph.Globalizationputsculturaldiversitytoanend,replacingvariouslocalcultureswiththedominantAmericancultureworldwide.

TheviewthatglobalizationequalsAmericanizationorWesternizationisproblematic.AsStoreypointsout,theexpansionofAmericancommoditiestotherestoftheworlddoesn’tnecessarilymeantheexpansionofculturebecausecommoditiesarenotthesameasculture.57Moreover,thecommoditiesexportedtoothercountriesaremodifiedtosuitlocalneeds,andtheirculturalvalueischangedaccordingly.Evenwhenthecommoditiesremainthesame,peoplefromdifferentculturesmightinterprettheirmeaningsbasedontheirownvalues.Assuch,Storeyrebukedtheglobalization/Americanizationclaim,sayingthat“globalizationinvolvestheebbandflowofbothhomogenizingandheterogenisingforces;themeetingandtheminglingofthe‘local’andthe‘global’.”58

RolandRobertsonusestheterm“glocalization”todistinguishhisviewfromthecommonlybelievedideaofglobalization.59Thetermglocalizationmeans“thesimultaneousinterpenetrationofthe‘global’and‘local’.”60Robertsonusesthetermtorefertothetailoringandadvertisingofgoodsandservicesonaglobalbasis,wheretheconsumersarefromdifferentiatedlocalmarkets.ThisinteractionbetweentheexportedgoodsandlocalcultureiswhatRobertsoncalled“theinventionofconsumertraditions.”61Thatistosay,theauthenticityandtraditionoflocalcultureisnotconstantlyunchanging,butrather,alllocalculturaltraditionswillchangeundertheimpactofexchangingglobalgoods.Globalization,inRobertson’swords,canbeseenas“thecompressionoftheworld,”inwhichculturespenetratewithoneanother,absorbingeachother’sinfluenceand,inturn,createorinvolveintosomenew“local”culturaltraditionsthatarenotpurely“local”anymore.62

Pieterseusestheconceptof“hybridization”toargueagainsttheclaimthatglobalizationisequaltoWesternization.CulturalhybridizationisthemixtureofAsian,African,American,andEuropeancultures.63Hybridizationemphasizesthemixingofculturesinsteadoftheseparatenessofthem,itfocusesonthe“fluidity,indeterminacy,andopen-endedness”ofglobalization.64Hebelievesthattheprocessofglobalizationisamultidimensionalprocessthatunfoldsinmultiplerealms.Globalizationopensuppeople’schoicesbyshowingthevarietyofculturesatpractice,makingthemawareoftheirethnicandculturalidentitythatwasoncetakenforgranted;andmeanwhileallowingthemtofindotherculturalpracticesthattheycanincorporateintotheirown.Morechoicesalsomeanthatlocalvaluesandlifestylescanbereconstructedinordertoconnectandsharewiththeglobalvalues.AccordingtoMalcolmWaters,thisprocessismotivatedbysymbolicexchanges,“culturalentitiesthatarecirculatedandrecycledsimultaneouslyinmanylocationsthroughouttheglobe”.65Filmandmusic,forexample,areveryimportantformsofsymbolicexchanges.

Theabovetheoriessuggestthatglobalizationisnottheone-wayinfluencefromthemoredominantWesternculturetolessinfluentialones.Instead,theprocessismutuallyinfluentialandaffective.Ononehand,Westernculturemingleswiththelocalculturesbymeansof“symbolicexchanges,”66makingthelattermoreandmoreacceptabletotheformer’sideologyandsocialnorms.Ontheotherhand,less-dominantculturesfindtheirwaysintoWesternworld,contributingtothemakingofamulticulturalWest,or,anAmericaofmulticulturalism.Crouching Tigerisasuitableexampleforillustratingthisprocess.First,theWuxiagenrewasalteredinCrouching Tigerinordertocreateasenseofuniversalityandfamiliaritytoreachforbroaderaudiences.Second,theChineseaudiencelearnedtoaccepttheCrouching TigerversionofaWuxiafilmbyestablishingthefilmasthere-inventionof


Wuxiatradition,fromwhichaudiencesandfilmmakerscangenerateadeeperreadingofsuchlocalitythanbefore.Asidefromthefilm,thedirectorAngLeehimselfisanotherexampleofahybridizedculturalbeing.

Ang Lee: A Hybridized Life, Filmography, and Crouching Tiger

ThedirectorAngLee’slifeisinterestinglyhybridized.HisexperienceinbothChinaandtheU.S.madehisfilmauniqueblendingoftheEastandWest.AngLeewasborninTaiwanin1954.HemovedtotheUnitedStatesin1978,wherehecontinuestoreside.LeereceivedhisBFAattheUniversityofIllinoisandhisMFAinfilmproductionfromNewYorkUniversity.AlthoughhechosetostayintheUnitedStatesaftergraduation,Lee’sfilmsaredeeplyrootedinChineseculture.Heoncesaid:“IwasborninTaiwan,butmymotherisfromJiangxiProvinceandmyfatherfromBeijing.SoIwasintensivelytrainedwithChinesetraditions,andIhopethisshowsthroughinmyworks.”67Hisfamilyupbringing,combinedwithhistraininginWesternstylefilmmaking,makeLeeauniquefigurethatisinfluencedbybothChineseandAmericancultures,whocan“speaktothosetwoculturesinawaynootherdirectorhas.”68Indeed,Lee’seducationandfamilybackgroundmakehimintoacross-culturalandtransnationalfilmdirector,whoiscalled“theguyinthemiddle,betweentwoworlds”.69SomeofLee’saward-winningfilmsmeditatedontheculturaldifferencebetweenChinaandtheU.S.Themostfamousamongthemishis“Father Knows Best”trilogy.Pushing Hands (1992)isthefirstofthistrilogy,aswellasLee’sfirstfeature.ItisaboutthecultureshockofaTaiChimasterwhomovedtotheUnitedStatestolivewithhisson.In1994,thesecondpartofhistrilogyThe Wedding BanquetwasawardedtheGoldenBearawardinBerlinFilmFestivalandtheBestForeignLanguageFilmintheAcademyandGoldenGlobeawards.70The Wedding BanquetisalsoaboutthelifeofChinese-American:themaincharactertriestohidehishomosexualtendencybymarryingaChinesewomanwhowantsaU.S.greencard.EatDrink Man Woman (1994) isthelastofthe“Father Knows Best”trilogy,whichagainwasnominatedforBestForeignLanguageFilmfortheAcademyAwardsandtheGoldenGlobes.ThestorygoesbacktoTaipei,Lee’shometown.ChinesecookingandfamilyrelationshipsarethemainthemesofEat Drink Man Woman.Afterseeinghisearlyworks,produceranddirectorSydneyPollackinvitedLeetomakeJaneAusten’snovelSense and Sensibility

intoafilm.In1995,Sense and SensibilitywasnominatedforsevenAcademyAwards,includingBestPicture.Lee’slasttwopiecesbeforeCrouching TigerareThe Ice Storm (1997)andRide with the Devil(1999),bothentirelyAmericansubjects,inwhichLeedemonstratedhisabilitytofilmtopicscloselyrelatedtoAmericanculture.BothLee’sfilmandLee’slifeareexamplesofhybridizationthelocality.ThefilmbroughtWuxiagenretoabroaderaudienceandrevolutionizedthegenre;whileAngLeemixedWesternfilmmakingtechniqueswithlocalChinesecultureandcreatedhybridizedfilms.

Conclusion

Inthispaper,IcollectedandcomparedthefilmreviewsofCrouching Tiger, Hidden Dragon fromAmericanfilmcritics,Chinesenewspapers,andordinaryChineseaudiences.ThecomparisonbetweenAmericanreviewsandinitialreviewsfromChinesenewspapersshowedadrasticdivergenceinthefilm.Americanreviewshighlypraisedthesplendidchoreographyandtheheart-brokenromancestory;yetChinesereviewsfocusmoreontheeconomicsuccesswhilecriticizingtheauthenticityofCrouching Tiger.AngLeeaddedsomeWesterntouchestothismandarin-speaking,subtitledfilmtoattractAmericanaudiences.Hisemphasisonhumanemotionintherelationshipsamongcharactersgivesthefilmasenseofuniversality.Meanwhile,feminismthemesalsocontributedtothepositivereviewsfromtheU.S.However,usingsuchelementsmadethefilmanon-traditionalWuxiafilm.Chineseaudiencesweredisappointedandskepticalaboutsuchchanges,whichledtonegativeinitialreviews.TheyearsafterawardsweregiventoCrouching TigeraremarkedbypilesofimitationsthateitheraimedtoearnmoneyfromtheWesternmarket,ortomakeanotherOrientalimpactontheawardceremoniesaroundtheworld.Becauseoftheemergenceofthesefilms,Crouching TigerbecametherepresentationofanewgenerationinWuxiafilms,amoreglobalizedversionofWuxiagenre.Assuch,thereviewsafterwardsaregettingbetterandmoreprofound. Crouching Tigerisanexampleofglocalization/hybridizationthattheprocessofglobalizationismutuallyinfluentialamongcultures.IfthefilmCrouching Tigerisacasetoglobalizethelocal,thechangeinaudiences’attitudestowardthefilmcouldbearesultofacceptingtheglobalizationoflocalculture,inRoberson’swords,acceptingthe“creationoflocality.”Indeed,whathasbeenglobalizedbyAngLeeisnottheWuxiagenre,butamixtureofChineseWuxiaelementswithWesternfilmingstorytellingandthemes,thecoreofwhichremainsthesame,butthemeansoffilminghavechangedaccordingly.IhavenotedpreviouslythatLeehimselfagreeswiththeideathathisfilmistwistingtheWuxiagenre,buthealsoemphasizesthatthepurposeofdoingsoistoexplorethedeeperhumanemotionsusingWesternfilmingmethods.SuchmethodsarecriticalforthefilmtobeacceptedintheWest.Meanwhile,themethodisdangerousinthathybridityoftencomesalongwithasenseoflossofpurity,lossofwholeness,andinauthenticityforthelocalpeople,whichmightbeaccountfortheinitialnegativeresponseevokedbyCrouching Tiger.71


ThevariousimitationsofCrouching Tiger–goodorbad–inawayreiteratedthesignificanceofthisfilm.Suchimitations,togetherwithCrouching Tiger,becameawaveofnewlyinterpretedWuxiafilms,inwhichhumanemotionsarehighlighted,thefightingisembellished,andmoreattentionispaidtothepoetryofascenethantheviolence–theveryelementsthatappealtoWesternaudiences.ThereisnodenyingthatthedirectorsofthesenewWuxiafilmswereambitiousandwantedtoreproduceLee’ssuccessintheglobalstage.TheireagernesstoberecognizedgloballyresonateswiththefilmviewersinChina,accordingtoChan,“revealaculturalanxietyaboutidentityandChinesenessinaglobalized,postcolonial,andpostmodernworldorder.”72InsteadofharshlycriticizingCrouching Tiger,thefilmmakersseemedtohavefoundtheirownwaysofcopingwithsuchanxiety–theanxietyofthelossofChineseauthenticityinWuxiafilms–torevolutionizethegenreandmakedistinctionswiththepreviousWuxiatradition.ThiswaveofimitationmightbewhatRobertson(1995)called“theinventionofthetradition.”73Asaresult,Crouching TigerbecomethetranscendentalfilmthatbroughttheWuxiagenreintoanewera.SotheinauthenticandWesternizedfilmbecamethenewauthenticityandnewtraditionforWuxiafilms.

Afterre-visitingthefilmandwatchingtheimitations,thefilmreviewersseemedtoagreewithAngLeemorethanbefore.

ThefilmisakindofdreamofChina,aChinathatprobablyneverexisted,exceptinmyboyhoodfantasiesinTaiwan.Ofcourse,mychildhoodimaginationwasfiredbythemartialartsmoviesIgrewupwithandbythenovelsofromanceandderring-doIreadinsteadofdoingmyhomework.Thatthesetwokindsofdreamingshouldcometogethernow,inafilmIwasabletomakeinChina,isahappyironyforme.74

Lee’sdreamChinaisenigmaticandmysterious,andtheromanceinthestoryisfilledwithasenseofemptinessandpowerlessagainstfate.Itisnotacoincidencethatwhenaudiencesre-viewthefilm,someofthemfoundZenandTaoismconnotationsin

Crouching Tiger,sinceLee’svisionreflectstheveryessenceofTaoism:emptiness.InoticedthatinalmostalloftheAmericanreviews,thedepictionoftheromancedidnotmentiontheTaoistthemes,thismightbeduetotheirlackofknowledgeaboutthephilosophyofTaoism.However,mostpositivereviewswrittenbyChineseaudiencesdiscussedtheinfluenceofTaoisminCrouching Tiger.ThisisonlyoneexampleofthedifferentreadingsbetweenChinaandAmerica.Ironically,althoughChineseaudienceslatercameupwitharicherreadingofCrouching Tiger,Americanreviewerswerethefirstonestolikeandacceptthefilm.Thereasonforthismightgobacktothenotionof“theinventionoftradition.”75ForChineseaudiences,thereisalreadyadeep-rootedtraditionofWuxiafilms,whichmadeitmoredifficultforthemtoacceptaglobalizedversionofWuxiafilm;whiletheAmericanaudiencesaremorewillinglytotakeuptheexoticmartialartsfilmbecausetheylackedexperiencesintheWuxiagenre.Inotherwords,ChineseaudiencestookalongerperiodoftimetounderstandAngLee’sCrouching TigerasanewWuxiafilm.ThefilmisamixtureofWesternelementsinChinesegenre,makingthetraditionalWuxiagenrenolongerapurelocalculture.TheinitialdisappointmentfromChineseaudiencesturnedintoacceptance,sometimelater.Thiscanbeseenastheresultofexchanging

globalgoods,sothattheauthenticityandtraditionoflocalculturehaschangedaccordingly.However,inthesecondreadingofCrouching Tiger,positivereviewsexploredmoreprofoundlythethemesandimplicationsofthefilmthanAmericanreviews.Thedelayofacceptance,alongwiththericherreadingonCrouching Tiger,mightbetheprocessfortheChineselocaltore-produceandre-createtheWuxiatraditiontocopewiththechangesbroughtaboutbyglobalization.


Appendix A.TheplotofCrouching Tiger, Hidden Dragon

ThefilmstartswithitstitleinChinesecharacters,thepatternofwhichisastillshotofagreenandpeacefulbambooforest.LiMuBai(ChowYunFat),awarriorwhoisconsideredtobeoneofthebestswordmastersofthetime,comestovisithislong-timefriendYuShuLien(MichelleYeoh).Thetwohavealongyetunspokenpassionforeachother,butsomepastincidentsmadeitimpossibleforthemtospeakoftheirlovefordecades.LiwantsShuLientogivehislegendarysword,theGreenDestiny,tohisfriendinBeijing,becausehewantstoleavethelifeofendlessfighting.ShuLienisreluctanttotakehisswordatfirst,butlatersheisconvincedbyLiandleavesforBeijing.Uponherarrival,ShuLienisintroducedtothedaughterofahighrankofficer,Jen(ZhangZiYi).JenexpressesheradmirationofShuLien’slifeasafreewarrior–Jensays,unlikeShuLien,shehastoobeyherparents’decisiontomarryahigherrankedpolitician–butShuLientellsherethatGiangHu(martialartslife)hasitsownrulesandlaws,noonecanlivetrulyfree.

Thatnight,theswordGreenDestinywasstolenbyanagilethiefandduringthefighttostopthetheif,ShuLienseemstohaveanideaoftheidentityofthatthief.Meanwhile,thereisarumorinBeijingthatJadeFox(ChengPeiPei),themurdererofLiMuBai’smaster,ishidinginJen’sresidence.Havinglearnedaboutthis,LiMuBaiwantstoavengehismasterandconfrontsJadeFoxinthenight.JustasMuBaiisabouttodefeatJadeFox,thethief,withGreenDestinyinhand,comesintothesceneandhelpsJadeFoxtoescape.Bynow,theidentityofthethiefhasbeenunveiledtotheaudience,sheisnootherbutJen;andJadeFoxseemstobehermasterofmartialarts.Thenextday,ShuLienasksJentoreturntheswordandshewillnotpresschargesagainstJen.

However,whenJentriestoreturntheswordinsecret,Licatchesheronthescene.HelikesJen’spotentialinmartialarts,andofferstobehermaster.However,Jenrejectshimrudelyandtakesoffwiththeswordagain.InJen’sflashback,weseearomancestorybetweenJenandadesertbanditLo(ChangChen),whichendsupinJenleavingLobecauseofherfamilyresponsibility.InthedayofJen’swedding,LoshoutsdesperatelytoJen:“Comewithmetothedesert!Noonemarriesyoubutme!”HeisthuschasedbytheguardsfromJen’shouse,butLiandShuLienhelphimescape.Nottoaudience’ssurprise,Jenrunsawayfromhishusbandanddisguisedherselfasamaletoenterherdreamworld:afreelifeofGiangHu.

Nevertheless,asShuLientoldherbefore,GiangHuhasitsownrulesandlaws.Becausesheisunawareofthesecodes,Jen’sarrogantattitudeandrudebehaviorirritatesalotofrespectedmartialartists.ShethenturnstoShuLienforhelp,butwhenJenlearnsthatLiandShuLienarefollowingherfather’srequeststobringJenbackhome,shefeelsbetrayedandafightbreaksoutbetweenthem.JenusesunlawfultrickstohurtShuLienandagainrunsaway.LiMuBaitracesherintoaseaofbamboowheretheyfighteachotheronthetopofthosebamboos.ListilltriestopersuadeJentofollowhimashisapprentice,butJendoesn’tseemtocare.JadeFoxshowsuptorescueJen.

ThelastbattleisbetweenJadeFoxandLiMuBaiinthecavewhereJenandJadeFoxhide.TheviciousJadeFoxisdefeatedandkilledbyLi,however,LihimselfispoisonedbyJadeFox,aswell.Inthelastmoment,Jenleavesforthetown,promisingtobringbacktheantidoteforhim.SoShuLienandLiareleftalone,waitingforJen’sreturn.Atthefinalmomentofhislife,LidecidestotellhistruefeelingsaboutShuLien,andhediesinherarms.

Yetthetragiclovestorydoesnotendhere.AfterLi’sdeath,JentakesShuLien’sadviceandgoestoWudangMountaintomeetLo.Shestandsinabridge,underneathisadeepabysscoveredwiththickclouds.SherecallsLo’slegendabout“afaithfulheartmakeswishescometrue”,thenasksLotomakeawish.

LO

(closing his eyes)Tobebackinthedesert,togetheragain.Jensmiles,turns,andleapsintotheclouds.theyseemtocatchhergently,beforeshedisappearsintothem.Loremainsstanding,asmileonhisface,tearsrollingdownhischeeks.THEEND.(p.139)


(Endnotes)1S.H.Lu,“CrouchingTiger,HiddenDragon,BouncingAngles:Hollywood,Tiawan,HingKongandTransnationalcinema,“in

Chinese-LanguageFilm:Historiography,poetics,politics,editedbyS.H.LuandE.Y.Yeh.(Honolulu:UniversityofHawai’i),220.2L.Sunshine,ed.,CrouchingTiger,HiddenDragon:PortraitoftheAngLeefilm(NewYork:Newmarket,2000).3“Flickiswinnerbutnotpublicfavourite”ChinaDaily,March27,2001,accessedOctober25,2010,http://www.chinadaily.com.cn/

en/doc/2001-03/27/content_50535.htm4K.Lee,“Faraway,soclose:CulturaltranslationinAngLee’sCrouchingTiger,HiddenDragon,”Inter-AsiaCulturalStudies4(2003);

281-295.5H.Wu&J.Chen,“GlobalizingChinesemartialartscinema:theglobal-localallianceandtheproductionofCrouchingTiger,Hidden

Dragon,”MediaCulture&Society,29(2007):195-217.6R.Ebert,“CrouchingTiger,HiddenDragon,”SunTimes,December22,2000,accessedOctober25,2010,http://rogerebert.suntimes.

com/apps/pbcs.dll/article?AID=/20001222/REVIEWS/12220304/10237P.Tatara,“’CrouchingTiger,HiddenDragon’agripping,poetictale[Onlineexclusive]”December11,2000,accessedOctober25,

2010,http://archives.cnn.com/2000/SHOWBIZ/Movies/12/11/review.crouching.tiger/index.html8Ebert,“Crouching,”1.9P.Rainer,“MaritalBliss,”NewYorkMagazine,December11,2000,1,accessedOctober25,2010,http://nymag.com/nymetro/

movies/reviews/4159/.10Tatara,“Crouching”1.11Ebert,“Crouching,”1.12D.Howe,“KeepYourEyeonthe‘Tiger,’”WashingtonPost,December22,2000,1,accessedOctober25,2010,http://www.

washingtonpost.com/wp-srv/entertainment/movies/reviews/crouchingtigerhiddendragonhowe.htm13Ebert,“Crouching.”14Howe,“KeepYourEye.”15K.Chan,“TheGlobalReturnoftheWuSiaPain(ChineseSword-FightingMovie):AngLee’sCrouchingTiger,HiddenDragon,”

CinemaJournal,43(2004):3-17.16Lee,“Faraway.”;M.Pham,“TheAsianInvasion(ofMulticulturalism)inHollywood,”JournalofPopularFilm&Television32:3

(2004):121-131.17Lee,“Faraway.”18Sunshine,Crouching,113.19Qtd.inPham,“AsianInvasion,”128.20Sunshine,Crouching.21Qtd.inSunshine,Crouching,112.22K.Maio,“TheGlobalizationofLeapingKicks,”Fantasy&ScienceFictionOctober/November2006,153-157.23Maio,“Globalization.”24Maio,“Globalization,”284.25Maio,“Globalization”284.26“Flick.”25LM.Landler,“Lee’s‘Tiger,’CelebratedEverywhereButatHome”TheNewYorkTimes,January27,2001,accessedOctober25,

2010,http://www.nytimes.com/2001/02/27/movies/arts-abroad-lee-s-tiger-celebrated-everywhere-but-at-home.html?scp=4&sq=crouching+tiger&st=nyt.

28Lee,“FarAway.”;Lu,“Crouching.”;K.N.Liu,“AngLee’sCrouchingTiger,HiddenDragoninthelandoftheCartesians:Fromcomparativereceptiontoculturalcomparison,”Semiotica,171(2008):395-411.

29Liu,“AngLee’s,”397.30Lee,“FarAway.”31Landler,“Lee’s‘Tiger’”;Lee,“FarAway.”;H.Wu&J.Chen,“Globalizing.”32Qtd.inLandler,“Lee’s‘Tiger,’”1.33Landler,“Lee’s‘Tiger.’”;Lee,“FarAway.”34Landler,“Lee’s‘Tiger.’”;Liu,“AngLee’s.”35Sunshine,Crouching.36“’CrouchingTiger’makesHKawardkilling,“ChinaDaily,(April30,2001),1,accessedOctober25,2010,

http://www.chinadaily.com.cn/en/doc/2001-04/30/content_53281.htm.37M.Landler,“It’sRainingTigersandDragons;AsianFilmmakersRushtoRepeatanOscarWinner’sSuccess,”TheNewYorkTimes,

July2,2001accessedOctober25,2010,http://www.nytimes.com/2001/07/02/arts/it-s-raining-tigers-dragons-asian-filmmakers-rush-repeat-oscar-winner-s-success.html?scp=11&sq=crouching+tiger&st=ny.

38Landler,“It’sRaining”1.39Landler,“It’sRaining.”40A.Lam,“Charmofkingfu’sbirthplace,”BusinessWeekly,May92001,accessedOctober25,2010,

http://www.chinadaily.com.cn/en/doc/2001-05/29/content_60091.htm.41Landler,“Lee’s‘Tiger.’”42Landler,“It’sRaining,”1.


43Qtd.InLandler,“It’sRaining.”44Lee,“FarAway.”;Lu,“CrouchingTiger.”45Lee,“FarAway.”46Lu,“CrouchingTiger.”47“CrouchedandHidden ,”July18,2005,accessedOctober25,2010,

http://movie.douban.com/review/1001459/2005).48Lu,“CrouchingTiger,”227.49“Flick,”1.50Lee,“FarAway.”51“FilmReviewonCrouchingTiger,HiddenDragon ,”May9,2006,accessedOctober25,2010,

http://gaige.rednet.cn/c/2008/08/14/1574389.htm.52Sunshine,Crouching,134.53“Sword-fightsamongBambooTreesinCold-bloodedGianghu,andCrouchingTiger,HiddenDragon

,March1,2010,accessedOctober25,2010,http://movie.douban.com/review/302646154WuandChen,“Globalizing,”9.55J.N.Pieterse,“GlobalizationasHybridization”inGlobalModernities,editedbyM.Featherstone,S.Lash,andR.Roberston.

(ThousandOaks:Sage,1995),45-68.56Pieterse,“Globalization”45.57A.Giddens,TheConsequencesofModernity”(Standford,CA:StandforUniverity,1990),65.58Giddens,Consequences,175.59J.Storey,CulturalStudiesandtheStudyofPopularCulture,2nded.,(Athens,GA:UniveristyofGeorgia,2003).60Storey,CulturalStudies,158.61R.Robertson,“Glocalization:Time-spaceandhomogeneity-hetrogeneity”inGlobalMadernities,editedbyM.Featherstone,S.

Lash,andR.Robertson(ThousandOaks:Sage,1995),25-44.62Storey,CulturalStudies,158.63Robertson,“Glocalization,”27.64Robertson,“Glocalization,”40.65Pieterse,“Globalization.”66Pieterse,“Globalization,”46.67W.C.Dilley,“GlobalizationandCulturalIdentityintheFilmofAngLee,”Style43(2009):45-64.68Dilley,“Globalization,“45.69N.Chen,“TheBigAng,”ChinaDaily,August29,2007accessedOctober25,2010,

http://www.chinadaily.com.cn/cndy/2007-08/29/content_6063556.htm.70Chen,“BigAng,”1.71WuandChen,“Globalizing,”38.72Sunshine,Crouching.73Pieterse,“Globalizing.”74Chan,“GlobalReturn,”4.75Robertson,“Glocalization,”35.76Qtd.inSunshine,Crouching,7.77Roberson,“Glocalization,”35.

(蹲着的和躲着的)

(电影卧虎藏龙影评)

(冷血江湖里的竹林剑影，和卧虎藏龙)








Globalizing the Locality: A Cultural Comparison of Ang Lee ... the Locality... · Globalizing the...

Documents

Transcript of Globalizing the Locality: A Cultural Comparison of Ang Lee ... the Locality... · Globalizing the...