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Part 3 Aids and Virus: from Film to Forum part 3 aids and Virus: From Film to Forum ⸪ Kun Qian - 9789004319219 Downloaded from Brill.com09/28/2021 05:24:12AM via free access <UN> Kun Qian - 9789004319219 Downloaded from Brill.com09/28/2021 05:24:12AM via free access chapter 7 Reluctant Transcendence: aids and the Catastrophic Condition in Gu Changwei’s Film Love for Life Kun Qian 钱坤 Cinema is like a cancer. No, it is infectious, it is more like aids. alain tanner, La Vallée Fantôme (1987) Ever since an unknown, threatening disease was identified as Acquired Immu- nodeficiency Syndrome (aids) in the 1980s, aids has been a subject of filmmak- ing in Western cinemas. Directors usually capture the alienation and suffering of the aids patients—mostly urban, marginal individuals such as gays, drug addicts, and prostitutes who are portrayed as having a deviant lifestyle, and for whom the disease is a stigma for which they are held responsible. Often seen as a threat to the community, they serve as warnings and “bad” examples for the general public.1 Gu Changwei’s 顾长卫 recent film, Love for Life (Zui ai 最爱, 2011), on the contrary, portrays a group of aids bearers in a rural environment in China as innocent peasants conforming a conventional life, whose biggest mistake lies in having followed the rhetoric of “getting rich quickly” by means of selling blood; in other words, the collective nature of this Chinese “tainted community” sets Gu’s film apart from other aids narratives and, to a large ex- tent, appears as a social criticism of national characteristics and contemporary economic development. As such, aids in the film is rid of the common stigma associated with gay sex and drug abuse, but is quintessentially tied to blood transfusion—the most direct way to depict the communicativeness and infec- tiousness of viruses which, as will be shown below, are not limited to hiv. Moreover, beyond capturing the horizontal, spatial pandemic of this formi- dable catastrophe, Gu Changwei attempts to deliver a sense of vertical, spiri- tual transcendence by highlighting a passionate love story between two young aids patients who, performed by the internationally known actors Zhang Ziyi 章子怡 and Aaron Kwok Fu-shing 郭富城, aestheticize the disease and probe the more universalistic questions regarding identity and subjectivity. 1 António Pais de Lacerda, “Cinema as an Historical Document: aids in 25 Years of Cinema,” Journal of Medicine and Movies 2 (2006): 102–13. © koninklijke brill nv, leiden, ���6 | doi �0.��63/97890043�9��9_009 Kun Qian - 9789004319219 Downloaded from Brill.com09/28/2021 05:24:12AM via free access <UN> 204 Qian This obviously has to do with censorship and commercial concerns,2 yet it also reflects the director’s ambivalent attitude—both engaged and detached—to- ward love and disease, life and death, which differs from Yan Lianke’s 阎连科 novel on which the film is based.3 In fact, even before its official appearance in May 2011, Love for Life at- tracted substantial attention from all kinds of potential audiences. For its pioneering portrayal of the aids patients in rural China, a void and taboo in public discourse, the film was from its beginning destined to generate politi- cally conscious sensations. Critics have mostly been drawn to the issues re- volving around the film’s release and its potential function as social criticism: how much the film diverges from Yan Lianke’s banned novel Dream of Ding Village; how the film has managed to strategically pass censorship; how a di- rector-cut version will differ from the version publicly shown in cinemas; and how the drama of changing titles helps understand China’s film censorship process. Excitement, aspiration, caution, and relief seem to be the common sentiments that accompany the film’s production and initial reception. After applause mixed with slight disappointment with the shorter version available in the market, the audience then immediately moved their expectation to the director- cut version, hoping that the longer version would fulfill the full po- tential of what such a topic promised. Yet from what is available to us now, we could still see an imperative of catastrophe at work, a dark theme prevalent throughout Yan’s novel, one that not only determines the fate of the individual characters in the film, but also brings to light the inverse perspective of the “catastrophic condition” of the society. The difference between the film and the novel, then, resides in Gu’s paradoxical attempt to make aids a metaphor for the collapse of the social immune system and at the same time to aestheti- cize it by proposing love as a way of transcendence.4 On the surface, Love for Life seems not so much different from other rebellious tales of forbidden love in an oppressive social environment, a topic that has been explored by many modern and contemporary filmmakers.5 What distinguishes this film from others is that aids as an overpowering existence conditions the community 2 “Zuiai: Juewang he huangmiu de yuyan 《最爱》：绝望和荒谬的寓言 [Love for Life: An Allegory of Despair and Absurdity],” Xin Jing bao 新京报 (Beijing News), May 11, 2011, http:// www.bjnews.com.cn/ent/2011/05/11/123371.html (accessed Feb. 23, 2013). 3 [For a detailed discussion of Yan Lianke’s novel, see Chapter 6, by Shelley W. Chan, in this volume. Ed.] 4 Using disease as a metaphor for social ills has been an enduring topic for modern Chinese writers. The most discussed example is Lu Xun’s “A Madman’s Diary.” 5 For example, Ling Zi’s 凌子 Yuanye 原野 [Wilderness] (1986), Ling Zifeng’s 凌子风 Chuntao 春桃 (1988) and Kuang 狂 [Madness] (1992), and Zhang Yimou’s 张艺谋 Ju Dou 菊豆 Kun Qian - 9789004319219 Downloaded from Brill.com09/28/2021 05:24:12AM via free access <UN> Reluctant Transcendence 205 and fosters love. Gu employs aids to explore the problems both of individu- al subjectivity against disciplinary social norms and of other social ills. This multi-layered task brings about a fundamental paradox, the question whether the aids pandemic or the contagious, self-destructive behavior of the society is more disastrous. The film celebrates (forbidden) love while the destiny of the lovers is death. As a way out, Gu’s film seems to suggest that love eventually redeems the tainted characters, for through aids, they gain an enlightened perspective overcoming death. Whereas Yan’s novel ends with a violent act of filicide and the obliteration of the village, Gu’s film projects a heavenly utopia that breaks out of the vicious circle of the catastrophe. This article addresses the double sides of the catastrophe: the contagious disease aids and its inverse image—postsocialist economic development in Love for Life—to approach Gu’s ambivalent transcendence. aids in the film serves as a real catastrophe as much as an instrument that helps illuminate the “catastrophic condition” of the society. In particular, the love story evolving out of this catastrophe demonstrates a frenzied life drive encountering death. The desire to love overcomes the desire to profit, indicating an enlightened, and equally “contagious,” perspective that points to the future. Insofar as the film is an ambitious, multi-task endeavor that resists simple generalization, the following sections will be devoted to several independent yet related questions. The primary narrative is a love story through which Gu presents the age-old question of the individual versus society, the formation of subjectivity that can be best approached through Gilles Deleuze’s and Félix Guattari’s notion of “the-body-without-organs.” Exploring the delicate rela- tionship between the body and the subject, illness and desire, the film drama- tizes the lovers’ return to humanity in the face of death. Celebrating love as a redeeming force that transcends death, this narrative also suggests, through the adulterous lovers’ eventual marriage, the social legitimization of what has been another stigmatized identity—the aids patients. A second narrative presents a group of self-exiled patients as a microcosm of contemporary social transition. Capturing the socialist afterlife in a quasi-communist “patient com- mune,” the film suggests that aids offers a privileged perspective about life, constitutes the characters as active subjects to transform their lives (as in the lovers), and at the same time mirrors the failure of socialist practice and its grotesque afterimage in the market economy. In a third narrative aids offers a privileged perspective on the postsocialist catastrophe, the market economy that fosters a social disease that is disastrously contagious. Finally, enveloping (1990) all depict illicit love affairs to legitimize the female characters’ search for the self and free love. Kun Qian - 9789004319219 Downloaded from Brill.com09/28/2021 05:24:12AM via free access <UN> 206 Qian the critical elements discussed above, the last narrative attempts to convey a reluctant transcendence. By giving voice and subjective position to the aids patients and framing the story in a dead boy’s uncertain, mythic narrative, the film blurs the boundary between life and death. Along with its accompanying documentary film Together (Zai yiqi 在一起), which could be seen as its double in real life, Love for Life seems to present a gesture of “becoming-patients” to look at contemporary China as a pathological society. Self vs. Society: Body-without-Organs The released version of Love for Life features a touching love story between two aids patients: Deyi 得意 and Qinqin 琴琴, whose forbidden love highlights the film’s inquiry about life and death, illness and health. Insofar as their love affair is saturated with physical pain, emotional abuse, social alienation, and spiritual quest for subjectivity and identity, it evokes Gilles Deleuze’s and Félix Guattari’s idea of “body-without-organs” in describing their search for a mean- ingful life and redefinition of their identity.
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