Presentation Title

The Cost and Price of Family in Contemporary Chinese Films

Location

Council Chambers

Start Date

11-10-2013 10:00 AM

End Date

11-10-2013 12:00 PM

Abstract

Speedy economic development in marketized China has generated significant anxiety about the impact of the prevalent money-oriented economic order on the quality of people and the private sphere. This paper examines the state-condemned independent production Lost in Beijing and the state-sponsored production Ren Changxia to show how family occupies a subordinate role in shaping contemporary self-identity. Lost in Beijing critiques the state ideology of progress and developmentalism through depictions of an inhuman profiteer who seeks monetary compensation for the rape of his wife and not only sells his son but also sells his rights to paternity for financial gain. I argue that a new ethical code based on money replaces legal justice such that even patriarchal masculinity yields to capitalism. I then discuss the ways monetary gain overtakes familial bonding and paternity becomes a commodity. In contrast, Ren Changxia illustrates the state’s effort in constructing a selfless character who always puts the people before herself and her family to counteract “bad” characters on screen. Ren Changxia is a Party official who works so hard to serve the people that she sacrifices rest and family life and eventually dies while serving the nation. I contend that even the state’s ideal citizen prototype puts aside domesticity in order to serve the greater good. I argue that contemporary Chinese cinema reveals an emptiness in affective bonding of family in present day China.

Comments

Presentation is included in Panel 1: Changing Family Relations in Contemporary East Asia

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Oct 11th, 10:00 AM Oct 11th, 12:00 PM

The Cost and Price of Family in Contemporary Chinese Films

Council Chambers

Speedy economic development in marketized China has generated significant anxiety about the impact of the prevalent money-oriented economic order on the quality of people and the private sphere. This paper examines the state-condemned independent production Lost in Beijing and the state-sponsored production Ren Changxia to show how family occupies a subordinate role in shaping contemporary self-identity. Lost in Beijing critiques the state ideology of progress and developmentalism through depictions of an inhuman profiteer who seeks monetary compensation for the rape of his wife and not only sells his son but also sells his rights to paternity for financial gain. I argue that a new ethical code based on money replaces legal justice such that even patriarchal masculinity yields to capitalism. I then discuss the ways monetary gain overtakes familial bonding and paternity becomes a commodity. In contrast, Ren Changxia illustrates the state’s effort in constructing a selfless character who always puts the people before herself and her family to counteract “bad” characters on screen. Ren Changxia is a Party official who works so hard to serve the people that she sacrifices rest and family life and eventually dies while serving the nation. I contend that even the state’s ideal citizen prototype puts aside domesticity in order to serve the greater good. I argue that contemporary Chinese cinema reveals an emptiness in affective bonding of family in present day China.