Women and Music in Contemporary Chinese Film

Hearing Their Stories Through Polyphonic Soundtracks: Women and Music in Contemporary Chinese Film Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Zhichun Lin, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Professor Arved Ashby, Advisor Professor Danielle Fosler-Lussier Professor Kirk Denton Professor Alexander Leibman Copyright by Zhichun Lin 2013 Abstract My dissertation examines the relationship between women and music in contemporary Chinese film—the early post-Mao melodrama and the Fourth, Fifth, and Sixth Generation film since the 1980s. Through separate interrogations of 1) the relationship between women’s voices and music, 2) the relationship between pre-existing music—a special and idiosyncratic musical application in film—and women’s presentations and representations, and 3) the relationship between popular music and women in urban life, I argue that music in Chinese film provides a complex historical-cultural perspective on the experiences of women, portraying both individual emotion and broad social change. Music also offers a unique channel for interpreting and understanding women, one that both uses and surpasses such old images as the silenced victim, the invisible figure, and the fantasized “other.” When women’s voices and emotions are restrained either by the old patriarchal social system or by an ideological authority, as in early post-Mao, Fourth, and Fifth Generation films, the music conveys content that is otherwise suppressed and understanding the musical signifiers gives us access to it. The use in Chinese film of preexisting music, such as opera and folk music, both draws on and subverts already-defined stereotypes and offers a means to convey aspects of character in a diverse and compelling way. However, in Sixth Generation film—the urban cinema that focuses on populations rather than individuals in the city—popular music does not advocate for women ii exclusively because its identity is a collection of public emotion rather than personal memory. Instead, popular music places women into a larger social context and connects people. Finally, I conclude that the relationship between music and women in Chinese film has evolved through changes in women’s social role and status in the history of Chinese society. iii Dedication This dissertation is dedicated to my loving parents, my husband, and my dearest grandparents who are always in my heart. iv Acknowledgments During the past six years, I have received so many people’s help. Without them, it would have been impossible for me to finish my dissertation and get the doctoral degree. I am fortunate to have three exceptional faculty members on my dissertation committee. I would like to acknowledge the deepest debt to my advisor, Professor Arved Ashby who is extremely kind, patient, and insightful. I really appreciate the countless hours you have spent on fostering my growth as an academic. I will always remember your inspirations in my studies, your encouragement when I was frustrated, your congratulations when I succeeded, and your humor in class and in our meetings. You set up a model of scholarship for me in teaching and research. I also want to thank Professor Danielle Fosler-Lussier and Professor Kirk Denton for joining my committee and giving me such wonderful directions for my study as well my grant applications. To each of you, your enthusiasm for my research and constant support of my work have enhanced my development as a scholar. The knowledge you have shared with me will continue to influence my career. I also want to thank other faculty in the Department of Musicology at The Ohio State University. Professor Charles M. Atkinson, my first-year advisor, thank you for all your encouragement when I felt nervous about my future study. Professor v Graeme Boone, thank you for challenging my thoughts when I first came to study in the United States. Your rich knowledge and enormous questions make me deeply realize the huge differences in the ways of thinking between China and the West. Professor Lois Rosow, thank you very much for giving me the important financial support that has helped me focus on my studies, gain valuable teaching experiences, and go to conferences. I am sincerely grateful to Professor Rocki Strader at The Ohio State University Library Tech Center. Thank you so much for offering me the Graduate Associate position during the most important three years of my dissertation writing. Without your help, I cannot imagine how I could finish my dissertation under the huge financial pressure. I also want to thank other staff members at the University Libraries Tech Center. Thank you for allowing me to read the new books that are helpful for my dissertation writing before they were catalogued. These books have provided me great sources for my study. I also want to thank Professor Robynn J. Stilwell from Georgetown University. I will never forget the great feedback and helps you have given me on my conference presentations, my grant applications, and my dissertation writing. During my dissertation writing, I also have had the great help and encouragement from my friends. I want to thank Molly Reinhoudt and Maureen Pritchard for helping me to revise and proofread my dissertation. I also want to thank Zheng Yingxue, Yang Jia and Yin Yanfei for many valuable discussions about my dissertation topic. Finally, I am so fortunate to have such great parents and husband. I want to thank you for enduring so many years of shortened visits and countless complaints over the vi phone and internet. Words cannot express my endless grateful feelings. Thank you all for keeping on reminding me “no difficulty and failure are a big deal and cannot be overcome.” Yes, it is true. I have overcome them all so far and will continue to confront them bravely in the future. Thank you. vii Vita June 2001 .......................................................Chengdu Shude High School, China June 2005 .......................................................B.A. Media Studies, Communication University of China June 2007 .......................................................M.A. Musicology, The Ohio State University 2007 to 2010 .................................................Graduate Associate, School of Music, The Ohio State University 2010 to present ...............................................Graduate Associate, University Libraries Tech Center, The Ohio State University Publication Lin, Zhichun. (2012) “The Heard and Unheard Sounds of Women: A Comparison of Female Silence and Theme Music in the Two Versions of Letter from an Unknown Woman,” Music and Moving Image 5, no.3, University of Illinois Press: 11-27. Fields of Study Major Field: Music Specialization: Film Music, Gender and Music viii Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgements ..............................................................................................................v Vita ................................................................................................................................... viii List of Figures .................................................................................................................... xi Chapter 1 Introduction .........................................................................................................1 Chapter 2 Women’s Silence, Voiceover, and Their Musical “Voices” ............................52 Women’s Silence and Voiceover in Western and Chinese Film ...................................54 Case Study: Two Versions of Letter from an Unknown Woman .................................65 Conclusion ....................................................................................................................122 Chapter 3 Preexisting Music and Women .......................................................................125 Preexisting Music in Western Film..............................................................................126 Preexisting Music in Chinese Film ..............................................................................129 Case Study: Farewell My Concubine .........................................................................134 Conclusion ....................................................................................................................199 Chapter 4 Women, People’s Relations and Popular Music in Urban Cinema.................203 Popular Music in Chinese Urban Cinema: Definition and Characteristics...................205 Women and Liuxing gequ in Chinese Urban Cinema ...................................................214 Case Study: Cry Woman—A Strange Relation Between Pop Music and Women ....222 ix The Diegetic Liuxing gequ in Chinese Independent Urban Cinema .............................230 Case Study: Pickpocket—Between Anempathy and Satire .......................................233 The Non-Diegetic Liuxing gequ in Chinese New Urban Cinema .................................253 Case Study: Spring Subway—People’s Relations in MTV Style ..............................254 Women, Public and Rock Music in Chinese Urban Cinema ........................................273

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