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Beyond Language: the Postmodern Poetics of Ang Lee’’S Adaptation of Lust/ Caution

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Beyond Language: the Postmodern Poetics of Ang Lee’’S Adaptation of Lust/ Caution
Beyond language: the postmodern poetics of Ang Lee’’s adaptation of Lust/ Caution
Shaoyan Ding

Abstract
Based on Robert Stam’’s notion of filmic adaptation as a cultural critique and through a detailed analysis of the postmodernist styles of intertextuality, dissolving the history, parodic representation, and the body narrative in the filmic text, this article argues that Ang Lee’’s film Lust/Caution (2007) adapted from Eileen Chang’’s fiction Lust, caution is a re-creation embedded with subtle and significant cultural politics. It can be seen as an intellectual endeavour to problematise the ideological assumptions of Self and the Other, history, identity and nationalism, to deconstruct the multiple forms of power that have enslaved human beings, women in particular, and to demonstrate his hope for equality, tolerance and coexistence in human society. In a word, Ang Lee’’s cinematic adaptation, going far beyond Eileen Chang’’s representation of private experiences, is an intellectual process of cultural poetics that subverts the mythic language of nationalism and national identity. Keywords: adaptation, body poetics, history, identity, intertextuality, nationalism, parody

Introduction
Adapted from Eileen Chang’’s short story Lust, caution ( Lust/Caution has created heated debates among critics within Chinese cultural circles since its release in 2007. Articles (Dai 2008: 92––93; Lee 2008: 157––192;

Shaoyan Ding is affiliated to the Faculty of English Language and Culture, Guangdong University of Foreign Studies, Guangzhou. dshaoyan@yahoo.com
ISSN 0256-0046/Online 1992-6049 pp. 88––101 © Critical Arts Projects & Unisa Press

25 (1) 2011 DOI: 10.1080/02560046.2011.552212

88

Beyond language: the postmodern poetics of Ang Lee’’s adaptation of Lust/Caution

Chinese people’’ while destroying morality and the justice of Chinese nationalist text inscribed with the signs of fashion, identity and the nostalgic remembrance of Shanghai in the 1940s (Dai



References: Berry, C. 1993. Taiwanese melodrama returns with a twist in ‘‘The wedding banquet’’. Cinemaya 21(Fall): 52––54. Chang, E. 2000. Zhang Ailing’’s selected proses. Selected and edited by L. Fengyi, 279–– 281. Hangzhou: Zhejiang Art and Literature Press. _____. 2007. Lust, caution. Beijing: Beijing Publishing House Group. Dai, J. 2008. Fashion, focus, identity: in and beyond the text of Lust/Caution. Xinhua Reader’’s Digest 4: 92––94. Deleuze, G. and G. Félix. 1977. Anti-Oedipus: capitalism and schizophrenia. Trans. R. Hurley, M. Seem and H.R. Lane. Original work published in 1972. New York: Viking. Edgar, A. and P. Sedgwick, eds. 1999. Key concepts in cultural theory. London: Routledge. Foucault, M. 1990. The history of sexuality, Vol. I. New York: Vintage Books. Hsia, T.C. 1961. . New Haven: Yale University Press. Hutcheon, L. 2002. The politics of postmodernism. London: Routledge. Jameson, F. 1983. Postmodernism and consumer society. In The anti-aesthetic: essays on postmodern culture, ed. H. Foster, 111––125. Port Townsend, Washington: Bay Press. _____. 1991. Postmodernism or the cultural logic of late capitalism. London: Verso. Lee, L.O. 2008a. Lust/Caution Xinhua Reader’’s Digest 4: 88––90. _____. 2008b. . Shanghai: Shanghai Bookshop Press. Liu, H. 2008. Lust/Caution has torn our memories of history. Xinhua Reader’’s Digest 4: 9. Lu, H. 2005. . Beijing: Culture and Art Publishing House. McClintock, A. 1995. Imperial leather. New York: Routledge. Sardar, Z. 1996. Postmodernism and the Other: the new imperialism of Western culture. London: Pluto Press. Film adaptation, ed. J. Naremore, 57––59. London: Athlone Press. _____. 2005. Introduction: the theory and practice of adaptation. In adaptation, ed. R. Stam and A. Raengo, 1––52. Peking: Peking University Press. White, H. 1973. Metahistory: the historical imagination in nineteenth-century Europe. Baltimore: Johns Hopkins University Press. Woolf, V. 1938. Three guineas. New York: Harcourt Inc. Xu, Y. et al., eds. 1988. 300 Tang poems: a new translation. Beijing and Hong Kong: China Translation Press and The Commercial Press Ltd., Hong Kong Branch. 101 Copyright of Critical Arts: A South-North Journal of Cultural & Media Studies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder 's express written permission. However, users may print, download, or email articles for individual use.

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