Raise The Red Lantern Essay
Noted as one of the most beautiful Chinese films created, Raise the Red Lantern (1991), directed by Zhang Yimou, presents a clear parable in which women are dominated by both men and traditions in a hierarchical society. Set in China in the 1920s, the film depicts the struggle and competitiveness between the mistresses to receive attention from the Master. Zhang uses Songlian’s story as a veiled allegory against Chinese traditions and to deeply criticize Confucian teachings. As such, the narrative not only explores the themes of authority and customs through the experiences of Songlian, it also comments on the social prejudices against women during that era through the scenery and events. Throughout the film, Zhang gorgeously presents the Master’s
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“’Let me be a concubine. Isn’t that a woman’s fate?’” (Raise the Red Lantern 1991). From the conversation, it can already be seen that there is discrimination against women. Women are seemingly treated more like objects and less like people and are limited in the choices they have, a reoccurring theme throughout the film. After arriving to the Master’s grey courtyard house, the audience is quickly introduced to the maze-like structure of the household. Though Confucian teachings do not talk much about women, it is expected that women should “play the role of the mothers and wives who ought to stay home and serve their husbands” (Jiang 234). Zhang accomplishes in portraying the feeling of confinement, symbolically the oppression of women, by guiding the audience through the courtyard house and its framing. Confinement is further enforced by the way the events are shown. The entirety of the film takes place within the courtyard house and the only scene outside of it is in the beginning when Songlian walks to the household. Liu explains that the courtyard house is developed “under the influence of Confucian rules, the arrangement of the traditional Chinese courtyard houses strongly reflected the hierarchical order prevalent in Chinese society” (Liu 4) and as such, women are expected to stay within the walls of the courtyard house to be protected from the outside
“’Let me be a concubine. Isn’t that a woman’s fate?’” (Raise the Red Lantern 1991). From the conversation, it can already be seen that there is discrimination against women. Women are seemingly treated more like objects and less like people and are limited in the choices they have, a reoccurring theme throughout the film. After arriving to the Master’s grey courtyard house, the audience is quickly introduced to the maze-like structure of the household. Though Confucian teachings do not talk much about women, it is expected that women should “play the role of the mothers and wives who ought to stay home and serve their husbands” (Jiang 234). Zhang accomplishes in portraying the feeling of confinement, symbolically the oppression of women, by guiding the audience through the courtyard house and its framing. Confinement is further enforced by the way the events are shown. The entirety of the film takes place within the courtyard house and the only scene outside of it is in the beginning when Songlian walks to the household. Liu explains that the courtyard house is developed “under the influence of Confucian rules, the arrangement of the traditional Chinese courtyard houses strongly reflected the hierarchical order prevalent in Chinese society” (Liu 4) and as such, women are expected to stay within the walls of the courtyard house to be protected from the outside