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Warriors As the Feminised Other

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Warriors As the Feminised Other Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. With such reconsideration of the relationship between the film texts and the audiences, this project aims to strip off the negative connotations imposed on the concept of ‗feminisation‘ and to seek to prove the emerging of a feminine discourse popularised by a graphic revolution. ii Acknowledgement Whenever I talk about some of my favourite actors with friends, they often easily jump to a conclusion that I have a penchant for feminine actors, which is part of the urge for me to carry out this research on the feminisation phenomenon in Chinese action cinema in the past decade (2000-2009). This research was also inspired by my MA thesis mentor and great friend, Associate Professor Chigusa Kimura-Steven, when I was doing my master research on women warriors in Chinese cinema in 2006. She and my MA thesis co-supervisor, Dr. Adam Lam, who became my main mentor for my PhD research, as well as Dr. Xiao Hong who is my associate supervisor, had great faith in me and constantly encouraged me to believe in myself that I would be a great researcher. My main supervisor Dr. Adam Lam has great faith in me. When I was still an Honour student, he had told me that I had the potential to do a PhD research. He has given me many great opportunities to work with him in different projects in order to build up my skills to be an academic scholar, including book translation and tutoring. With Adam‘s help, I have translated a section of one chapter of my research into Chinese, which has been published in the Chinese version of The Reinvention of Everyday Life: Culture in the Twenty-first Century (edited by Howard McNaughton and Adam Lam, Christchurch: Canterbury University Press, 2005). It is difficult for me to find a better word to express my gratefulness to Associate Professor Chigusa Kimura-Steven for her spiritual support and great advice. She sent written comments for my structure and thesis planning through mails when she was in Japan. Every time she came back to Christchurch, she would squeeze time to meet up with me and discuss my progress. Even at an extreme sad time when her beautiful house was destroyed by the February 22nd earthquake in Christchurch, she still managed to arrange time to see me to make sure I had been taken good care of. I am extremely grateful to Professor Howard McNaughton for his inspirational advice on my final journey toward completing my research. During our supervision meetings, he always has a sharp eye to pick up the core of my argument and compares it with fascinating examples. I was touched at the bottom of my heart because it is him who makes me feel that there is someone who understands exactly what I want to say. Whenever I walk past our office corridor and see Howard sitting in front of his computer (perhaps reading something by iii one of his students), a sense of guilt strikes me hard: even though he now has to depend on medication and painkillers, he never stops working diligently to help every one of his students I owe a great deal to Dr Peter Low who has been my proofreader. It was an extremely difficult time when he offered his help as his house was damaged in the earthquake, but he has devoted himself to helping me. He has a great eye for details and spent three months helping me correct and improve my writing style. This project was supported by the Brownie Scholarship granted by the University of Canterbury. I am grateful for all the staff in the School of Languages, Cultures and Linguistics in Canterbury University for their support in the past four years. My heartfelt thanks to Dr. Xiao Hong for her continuing support and encouragement. I am also grateful to Dr Ji Fengyuan for her advice given in all seminars I have taken part in. My family have been standing by my side for all these years and indulged me so that I can afford to focus on my research without worrying about anything else. I came from an extended family and a conservative community where a normal choice for a grown-up daughter is to get a job and then a husband. When I think of my parents, I often feel guilty for my somewhat ‗wayward‘ choice of burying myself in a topic that probably no one cares rather than following this normal path. But my parents have never lessened their love on me and sheltered me from all the bias and the squint-eyed gaze toward my unusual choice. Never shall I forget all the inspiration and support from friends who have believed in me when I have doubt in myself. All these great friends, Ginger Jiang, Sun Wenjun, Al You, Rornie Smarte, Musique Huang, William Liu, Gao Feng and Guo Li have shared their great ideas with me. I am also really thankful to all those who I have met in all the conferences I have attended during in the past four years for their feedback and encouragement. Special thanks to Masafumi Monden for his great inspiration and book references. In spite of the interruption by two major earthquakes in 2010 and 2011 and numerous aftershocks, my research journey in the past three years and four months has been a colourful one with a great deal of happy memories for me to cherish. CONTENTS ABSTRACT………………………………………………………………………………………………………………………..…..……...…..……i ACKNOWLDGEMENT …………………………………………………….………………......….…………………….……..…..…..ii Introductions “Behold the Metrosexual as Star” 0.1 Flowery Boys Sensations……………………………………………………………………………………………………..………….1 0.2 Masculinity: an Invented Category………………………………..……………………………………….………………..…10 0.3 Research Outline……………………………..…………………….……………………………………………………………..…………14 Chapter One The Coming of Age of a Feminine Discourse 1.1 Preamble……………………………………………………………………………………………………………………………………………23 1.2 Seizing Power: the Discourse of Femininity as Soft Power…………………………………….……………..25 1.3 Spotlighting the Female Gaze…………………………………………...……………………………………….………………..32 1.3.1 Male Body as the Desired Object............................................................................... 32 1.3.2 Empowering the “Gazed/spectacle”...........................................................................40 1.4 Feminisation and the Authoritarian Gaze.………………………………………………………...…….…..….......…45 1.5 The Vitality of a Feminine Discourse in China………………………………….………………………..……………48 1.5.1 Chinese Scholar Masculinity: “Beauty Is Part of My Dignity!”………...……..………49 1.5.2 The Maternal Thinking in Chinese Masculinity………………………………..…….…………58 1.6 Masculinities and Chinese Cinema.................................................................................................68 1.6.1 The Wu Xia Heroes..........................................................................................................69 1.6.2 The Feminised Scholars.................................................................................................77 1.6.3 Other Voices.....................................................................................................................82 1.7 Chapter Conclusion…………………………………………………………………………..….……………………………………....84 Chapter Two Docile Son Forever: The Feminisation of Son Warriors 2.1 Introduction…………………………………………………………………………………………………………………….………….…..86 2.2 Feminisation Aspect 1: The Male Actor as a Spectacle for the Fans………………….……….……….89 2.3 Feminisation Aspect 2: the Culture of Filicide (A Battle of Wits)………………………………….…......94 2.3.1 Filial Piety vs. Docility…………………………………………………….…………………………………….....94 2.3.2 Filicide vs. Patricide…………………………………………………………..…………………………………..….99 2.4 Feminisation Aspect 3: Hail to the Metrosexual Son (Playboy Cops)……………………...……..…..104 2.4.1 A Son Who is not Weaned Yet……………………………………………………………...…….……..…104 2.4.2 Producer vs. Consumer………………………………………………………………………………………...…106 2.5 Feminisation Aspect 4: the Triumph of Sentimentalism……………………………………………………….114
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