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The Image of Women in the Revolutionary Opera Films of the Chinese Cultural Revolution (1966-1976)

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The Image of Women in the Revolutionary Opera Films of the Chinese Cultural Revolution (1966-1976) The Image of Women in the Revolutionary Opera Films of the Chinese Cultural Revolution (1966-1976) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Zhuying Li MA, Monash University, Melbourne School of Media and Communication College of Design and Social Context RMIT University June 2018 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged ; and, ethics procedures and guidelines have been followed. Zhuying Li June 2018 TABLE OF CONTENTS ACKNOWLEDGEMENTS..................................................................................................................... 6 ABSTRACT ........................................................................................................................................ 7 CHAPTER ONE: INTRODUCTION ........................................................................................................ 8 GOAL OF THIS STUDY ......................................................................................................................... 8 AN INTRODUCTION TO THE REVOLUTIONARY OPERA FILMS .......................................................................... 9 DEBATE ON MAOIST GENDER DISCOURSE ............................................................................................. 12 THE CULTURAL REVOLUTION: BACKGROUND .......................................................................................... 19 LITERATURE REVIEW ........................................................................................................................ 22 RATIONALE AND SIGNIFICANCE ........................................................................................................... 33 OVERVIEW OF THIS THESIS................................................................................................................. 38 CHAPTER TWO: METHODOLOGY: GENDER, POWER, IDEOLOGY AND DISCOURSE; A FOUCAULDIAN APPROACH ..................................................................................................................................... 44 INTRODUCTION ............................................................................................................................... 44 DISCOURSE, POWER AND IDEOLOGY .................................................................................................... 45 FILM AS TEXT AND DISCOURSE............................................................................................................ 54 GENDER AS DISCOURSE – A FEMINIST PERSPECTIVE ................................................................................. 58 GENDER ROLE: MASCULINITY/FEMININITY ............................................................................................ 65 FEMINIST CRITICAL DISCOURSE ANALYSIS .............................................................................................. 70 DATA GENERATION ......................................................................................................................... 77 CONCLUSION ................................................................................................................................. 78 CHAPTER THREE: SOCIALIST CINEMA AND THE REVOLUTIONARY OPERA FILMS............................. 81 INTRODUCTION ............................................................................................................................... 81 SOCIALIST CINEMA OF THE PEOPLE’S REPUBLIC OF CHINA .......................................................................... 82 THE REVOLUTIONARY OPERA FILMS ..................................................................................................... 85 THE FUNDAMENTAL PRINCIPLES OF REVOLUTIONARY OPERA FILMS ........................................................... 103 RESEARCH ON WOMEN’S IMAGE DURING THE CULTURAL REVOLUTION ................................................... 108 CRITICAL DISCUSSION ..................................................................................................................... 113 CONCLUSION ............................................................................................................................... 117 CHAPTER FOUR: SMASHING OF THE FOUR OLD WAYS: THE TRANSFORMATION OF CONSTRUCTION OF MASCULINITY AND WOMEN’S ROLES FROM CONFUCIAN CHINA TO MAOIST CHINA .............. 120 INTRODUCTION ............................................................................................................................. 120 EMPOWERMENT OF FEMININE CHARACTERISTICS IN CONFUCIAN CHINA: YIN-YANG AND CONFUCIAN MASCULINITY ................................................................................................................................................ 122 ISOLATION OF WOMEN IN CONFUCIAN CHINA ...................................................................................... 129 DISEMPOWERMENT OF CONFUCIAN MASCULINITY IN MAOIST CHINA......................................................... 132 WOMEN’S LIBERATION FROM THE LATE QING DYNASTY TO THE MAY FOURTH PERIOD ................................... 137 3 WOMEN’S LIBERATION IN MAOIST CHINA ........................................................................................... 141 CONCLUSION ............................................................................................................................... 148 CHAPTER FIVE: MASCULINE HONOUR, FEMININE SHAME: THE RECONSTRUCTION OF GENDER IN THE REVOLUTIONARY OPERA FILMS ............................................................................................. 151 INTRODUCTION ............................................................................................................................. 151 IDEOLOGICAL CONSTRUCTION OF THE YIN–YANG SEMIOTICS .................................................................... 153 DISEMPOWERMENT OF FEMININE CHARACTERISTICS BY DEVALUING CONFUCIAN MASCULINITY ........................ 158 FEMININITY AS ALIENATION IN THE REVOLUTIONARY DISCOURSE ............................................................... 177 FEMINIST CRITIQUES FROM A SOCIAL CONSTRUCTIONIST PERSPECTIVE ....................................................... 194 CONCLUSION ............................................................................................................................... 202 CHAPTER SIX: PATRIARCHAL POWER AND IDEOLOGICAL APPARATUSES: THE IMAGE OF FEMALE WARRIORS IN THE REVOLUTIONARY OPERA FILMS ...................................................................... 206 INTRODUCTION ............................................................................................................................. 206 AN OVERVIEW OF THE RED DETACHMENT OF WOMEN (1972) ................................................................ 207 THE FATHER, THE DAUGHTER ........................................................................................................... 210 THE IMAGE OF FEMALE WARRIORS .................................................................................................... 221 MILITARY MASCULINITY, PHALLOCENTRISM ......................................................................................... 241 SEXUAL DIFFERENCE ...................................................................................................................... 250 CONCLUSION ............................................................................................................................... 253 CHAPTER SEVEN: CONCLUSION .................................................................................................... 256 REFERENCES ................................................................................................................................. 267 4 TABLE OF FIGURES FIGURE 1. SHAJIABANG (1971) ..................................................................................................... 164 FIGURE 2 . HONG CHANGQING AND VILLIANS IN THE RED DETACHMENT OF WOMEN (1972) ...... 170 FIGURE 3. LI YUHE & HATOYAMA IN THE RED LANTERN (1970) .................................................... 173 FIGURE 4. A QING & KMT MILITARY IN SHAJIABANG (1971) ......................................................... 180 FIGURE 5 QING HUA IN THE COCONUT VILIAGE, THE RED DETACHMENT OF WOMEN (1972) ....... 223 FIGURE 6.QING HUA AS A FEMALE WARRIOR, THE RED DETACHMENT OF WOMEN (1972) .......... 223 FIGURE 7. DAO MA DAN IN TRADITIONAL BEIJING OPERA ........................................................... 231 FIGURE 8 THE FEMALE WARRIORS IN THE RED DETACHMENT OF WOMEN (1972) ....................... 231 FIGURE 9. KE XIANG IN AZALEA MOUNTAIN (1974) ...................................................................... 234 FIGURE 10. KE XIANG VS. VILLIANS, AZALEA MOUNTAIN (1974) ................................................... 234 FIGURE 11. IMAGE OF BAIGUJING IN THE JOURNERY OF THE WEST (1982) .................................. 252 5 Acknowledgements As an international student working in a second language, this research was challenging but rewarding. I would like to express my sincere thanks to the many people who have assisted and encouraged me on my PhD journey.
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