Film Festival

I viewed "Shower" on DVD and recommend it to all East Asia Seminar participants. It is a story about a young man, Da Ming, who visits his father and mentally challenged brother in a decaying part of Beijing and must choose between the traditional lifestyle of his father and a modern one where efficient five-minute showers are available.

The characters in the film are wonderfully endearing and plausible. Da Ming’s father, Mr. Liu, gives advice to his customers, is cheerfully resigned to caring for his son (Er Ming), and is happy with his life. Many of the scenes take place in Mr. Liu’s bathhouse were the customers enjoy camaraderie, relaxation, and grooming services. The themes of duty, friendship, tradition, and family loyalty are evident and the visual contrasts are engaging: modern efficiency reflected in the shower and car wash; drought stricken Northern China contrasted with plentiful water in the bathhouse; and an analogy of old people and old houses that cannot be repaired. (I have no plans to use this film in my curriculum at this time, but enjoyed the sensitive and honest depiction of family conflicts and turmoil that always accompany change.)

Red Sorghum is an early film directed by Zhang Yimou (Raise the Red Lantern, Ju Dou etc.).
Beautiful visuals of birds and landscapes combined with song, humor, love and tragedy.

The almost carefree attitude of the winery before the Japanese army arrives reminded me of several American civil war stories. Bucolic life suddenly trampled by the dark tide of war.
These scenes also chillingly reminded me of a late night drinking session 30 years ago with a Chinese friend who somberly described seeing his father and mother beheaded during the invasion.

Regarding classroom use: There are graphic sexual innuendos. a lot of drinking and definite portrayls of violence. However, edited snippets could be useful.

The Twilight Samurai
Director: Yoji Yamada

Actors: Rie Miyazawa, Ren Osugi, Nenji Kobayashi, Mitsuru Fukikoshi, Min Tanaka, Hiroyuki Sanada, Hiroshi Kanbe, Erina Hashiguchi.

This is Yamada’s 77th film, a first period drama that depicts the last days of the Edo Period (1600-1867). Twilight Samurai is based on the best-selling novel by Shuhei Fujisawa. Yamada beautifully portrays the daily life of the non-conformist Seibei, a low-ranking samurai, whose wife died of tuberculosis several years ago.

Taking care of his two daughters, Kayano and Ito, Seibei is scraping along on a stipend of 50 bales of rice a year and working as a clerk in the clan office. When his co-workers head for pleasures after work, he goes straight home. Since he disappears every day as the sun goes down, he is mockingly nicknamed Tasogare (Twilight) Seibei.



At the end of the film Seibei is given orders by his clan to slay a Samurai name Yogo, who has broken away from the Samurai way of life. Yogo believes that the days of the Samurai are numbered because western influences have created a world in which Samurai are merely relics of a bygone era.



Yogo’s tale turns into a meaningful conversation about the hardships in their daily lives and the influence of foreign culture. Seibei realizes that his intended victim is a poor man much like himself. How can he kill him with a clean conscience?

In this film Yamada depicts a darker, more tragic view of human nature but this is only after an hour of touching melodrama about “star-crossed” lovers. Above all, he shows that the life of an ambitionless, family-oriented man can be happier and more appreciated than that of an engaged warrior.

Beautiful photography; sublime nature; Confucian philosophy.

You will profit from seeing this film.

-magda ferl

I too viewed "Together" and enjoyed it immensely. The music was enthralling. A 13-year-old child prodigy, Xiaochun (Chun), and his father leave their provincial town and seek better opportunities in cosmopolitan Beijing. Chun surprised me in his sophistication. He advises his father on what to wear to the big city, Beijing; once there, he becomes infatuated with and befriends a modern woman and advises her on what to wear on the evening of a birthday celebration for her boyfriend. After starting lessons with a violin teacher, Professor Jiang, Chun bluntly tells him that he smells worse than his cats and points out that he never changes clothes. Chun also intervenes when Mr. Jiang has an argument with his neighbor. (It seems to me that Chung is unnecessarily depicted as wise beyond his years.)

The second violin teacher is selfish and dreams of accolades for himself, being connected to a talent such as Chun. Chun and his father are ridiculed as "peasants," reflecting the stratification of Chinese society, and there are several scenes of money being offered and either accepted or rejected by various characters. Money is also a factor in the outcome of the first competition.

There are themes of parental sacrifice, friendship, and love between father and son. It is ultimately this strong bond of love that determines the direction of their future together. Overall, an upbeat tear jerker with great casting and great music.

Rashomon

This is a black and white Japanese film made in the 1950’s subtitled in English. Akira Kurosawa, the director tells the story through the various characters from their perspective. A gentleman and his wife meet a bandit while traveling through the forest. The gentleman is dead and the wife possibly violated. The story unfolds through the various characters’ experiences with the couple. The movie opens with three (3) men at a dilapidated gate during a rainstorm. One of the characters (the woodcutter) is disturbed by the incident and unwillingly tells his version of the truth. The movie recounts the incident through the eyes of the bandit, the wife, the dead man (through a medium), and a woodcutter. The woodcutter is the only one who witnesses the whole incident, but it becomes interesting how all the versions are completely different. Since the witnesses only observed part of the incident, their perception of the events is personalized. The movie focuses on what the bandit may have done to the gentleman’s wife and ultimately who killed the gentleman. Who is telling the truth? Is it the bandit, the victim or the dead man? Watching this film, I am not sure who is telling the truth. Although the woodcutter is the only one to see the entire incident, it is hard not to doubt his version. The concept of telling a story through witness accounts places you in the center of the mystery. You become the detective who has to determine who did it.

Larry

Larry, this is one of my favorite movies. I am interested in the idea that perhaps all is based on subjective perception of events. I found this to be a great topic for a high school class discussion. -magda

Magda,
I can see that this would be an excellent discussion vehicle. Certainly, it was a creative style of storytelling, but it seemed to raise more questions than answers them.

Larry
[Edit by="lkrant on May 20, 8:59:12 AM"][/Edit]

Director: Zhang Yang

The main character, Jia Hongsheng, is an unlikable teenage actor trying to stay off drugs. His parents leave their home to move in with him and their daughter in Beijing to take care of him during his rehabilitation.

The director shows us:
- It is customary for the eldest son to be the favored member of the family. (The daughter is practically ignored.)
- Western ways may not be a good thing (obsession with Beatles’ music, wearing jeans, introduction to drugs by friends)
- Parents played exaggerated roles of subservience to their son, waiting on him and running errands. Perhaps Confucian ideals are better.

There is a humorous scene in the movie in which the father tries to purchase a Beatles album for his son but has no clue of what to look for and must return home to get more details. He carries a sketch of John Lennon back to the music store.

The director uses an unusual and creative format, having the actors and staff play themselves, and the camera pulls back to show the movie sets and stage lighting.

My students would not enjoy this movie at all even though it is based on a true story. They will not be able to identity with the main character because he has no redeeming qualities and does not show any gratitude to his parents for their love and devotion.

This movie touches upon teenage drug abuse, the generation gap, parental and children’s roles, and eastern and western culture clashes, but takes far too long to do it. Thumbs down.

Fourteen-year-old Yagira Yuuya was named best actor for the Japanese film "Nobody Knows," in which he plays the eldest of four sibling raised in isolation, who must take charge of the family when their mother leaves.
This was in the news account of the Cannes Film Festival. Does anyone know if it is currently being shown in the US or if it's in the video stores?

Asoka: a Santosh Sivan Picture, starring Shah Rukh Khan and Kareena Kapoor
This an interesting film. The film makers admit that it is based on legend. But it is my understanding that most of what we know about Asoka is based on legend since he lived around the 3rd Century B.C. The film focuses on how he supposedly came to the point of going to war with Kalinga, which turned out to be one of the bloodiest wars ever waged. It is said that it was the result of all the killing that made Asoka dedicate the rest of his life to the spread of non-violence and Buddhism beyond the borders of India. I'm just sorry that the film is rated "R" making it impossible to show in school. But certainly internet research on Asoka could be included in a lesson plan as well as essay's on alternatives to war with Kalinga.

Godzilla/ Gojira (1954)
Directed by
Ishirô Honda
98 minutes

I am certainly glad I went to see this all time classic. It gives the impression of an old film but there is so much to process. In post-war Japan it must have been shocking to see a young couple kissing on the screen or dancing on the deck of the boat (of course Gojira got them all). The army is certainly no help and science is seen as evil. The scientist who destroys Gojira has to pay the price-he has to commit suicide. The Japanese love of children and the ancient belief in virgin sacrifice are some of the elements of the common cultural film language.
This film reflects many Japanese cultural attitudes that you can discuss with your students. I highly recommend this original un-edited version.

Godzilla refers to a series of kaiju (strange beast or monster), or more specifically daikaiju (giant monster), films made in Japan. "Gojira," is derived from a combination of the words for gorilla and whale, the monster born in a nuclear accident first appeared in director Ishiro Honda's 1954 black-and-white classic.
Godzilla is believed to have originally been intended by Toho to represent the United States of America and took the form of a radioactive prehistoric reptile. Given that his origin was the ocean, Godzilla can be considered not just a monster, but a sea monster. Godzilla died at the end of the original 1954 film. Subsequent films in the series reconnected the first movie by assuming that Godzilla wasn't killed, and that the body of the monster was never found.
The film featured an actor, Nakajima, in a rubber suit emerging from the sea to stomp through a miniaturized Tokyo. For a nation rebuilding from the World War II atomic bombings of Hiroshima and Nagasaki, the dark allegory represented the effects of the atomic bomb, and the unintended consequences that such weapons might have on our
Part cautionary tale, part campy fun, the films have shown Godzilla hamming it up while saving humankind from crises of its own making: the Cold War, pollution, nuclear energy and biotechnology.
On a sunny day and calm waters, a Japanese steamer sinks in flames when the sea erupts; a salvage vessel sent to the rescue disappears the same way; exhausted, incoherent survivors babble of a monster. Could it be...? GODZILLA was the biggest budgeted film in Japanese history at that time, costing nearly twice as much as the same studio’s The Seven Samurai, released the same year. An enormous hit, it spawned 50 years of sequels, countless rip-offs, and a new genre: the kaiju eiga, or Japanese monster movie

The original Japanese GODZILLA is one of the great films by a sci-fi master, Ishiro Honda (Akira Kurosawa’s close friend and occasional second unit director). The U.S. cut ran 20 minutes shorter, with another 20 snipped to make room for Burr, so that nearly a third (about 40 minutes) was shorn. The unrelentingly grim American version excised all of the film’s comic relief (including some astonishing Strangelove-like black humor) and censored its strong anti-H-Bomb message, turning it into a run-of-the-mill monster-on-the-loose picture.

In Japan, the original un-bastardized GODZILLA is regarded as one of the great classics of the cinema. In 1984, the prestigious film journal Kinema Junpo rated it among the top 20 Japanese films of all time.

The real (human) star of the movie is Takashi Shimura (best known for his Kurosawa roles, including the leader of The Seven Samurai and the doomed man of Ikiru), as a revered paleontologist who insists that Godzilla must be studied, not destroyed (he’s in the minority). This first Godzilla is truly terrifying — a 30-story Jurassic behemoth intent on destroying an exquisitely detailed miniature Tokyo — a tour de force by special effects genius Eiji Tsubaraya.


MATT ZOLLER SEITZ – an Interview

The 75-year-old Nakajima became a national icon (albeit of a minor and curious sort) by playing Godzilla, Japan's nuclear-breathed answer to King Kong and one of the longest-lived recurring characters in world cinema. Nakajima played him for 18 years, from the original in 1954 through Godzilla vs. Gigan in 1972.
It is now possible to appreciate Nakajima's efforts in a new, serious way. The restored film—originally titled Gojira, and mispronounced for decades by American marketers—is a much darker affair, an attempt by creator Tomoyuki Tanaka to depict Japan's postwar anguish in fairytale form.
An actor, martial artist and stuntman, Nakajima divvied up city-stomping duties with actor Katsumi Tezuka. After the first film's release in 1954, Nakajima became the role's principal actor. He was chosen mainly for his endurance—the suit weighed about 220 pounds and was poorly ventilated—yet he brought more to the role than mere strength. Like all intelligent actors, Nakajima approached the part as a part.
As any sci-fi geek knows, Godzilla is a mythological creature kept at bay by human sacrifice, then unleashed on Japan by nuclear testing. The character started out as a cautionary symbol of imperial arrogance begetting nuclear destruction, but he eventually mutated into a hero and a proud symbol of Japan's inextinguishable warrior spirit.
Nakajima reveals himself as a craftsman who thought hard about what sort of creature Godzilla was, how he might move and why.
"I knew it didn't make sense for Godzilla to move like a human being," Nakajima said. "I observed animals in the zoo for a week. What I did bring home was the bear and the elephant. Actually, I tried to mimic the way an elephant walks."
He says the monster did not deliberately wreck buildings, but damaged them accidentally because he was a giant beast trying to navigate a man-made environment.
"I tried to walk naturally and not seem conscious about my movements," he said. "As an actor, you have to be realistic. That's what I was trying to do."
That's no mean feat when you're wearing a 220-pound rubber suit with a tail suspended on wires. "It was really tiring," he said. "I needed three or four men to help me put on the suit."
There were other hazards as well, including small explosive charges that detonated around Godzilla as he trampled buildings, cars and telephone poles.
Nakajima was rewarded with steady employment and the affection of his countrymen. Nakajima is especially proud of Godzilla's popularity among Japanese children—a natural constituency courted early and often by Toho.
"I never thought it would achieve this level of popularity," he said. "Fifty years—that's a long time."

Just for fun…Godzilla Filmography

1. Godzilla, King of the Monsters
2. Gigantis the Fire Monster
3. King Kong vs Godzilla
4. Godzilla vs The Thing
5. Ghidorah the Three Headed Monster
6. Monster Zero
7. Godzilla vs The Sea Monster
8. Son of Godzilla
9. Destroy All Monsters
10. Godzilla's Revenge
11. Godzilla vs The Smog Monster
12. Godzilla on Monster Island
13. Godzilla vs Megalon
14. Godzilla vs The Cosmic Monster
15. Terror of Mechagodzilla
16. The Return of Godzilla
17. Godzilla vs Biollante
18. Godzilla vs King Ghidorah
19. Godzilla vs Mothra
20. Godzilla vs MechaGodzilla
21. Godzilla vs Destroyer
22. Godzilla
23. Godzilla 2000
24. Godzilla X Megaguiras
25. Godzilla, Mothra, King Ghidorah: All-Out Monster Attack!
26. Godzilla X MechaGodzilla
27. Godzilla X Mothra X MechaGodzilla

mferi, I enjoyed your contribution on Godzilla 5-24-04. This mornig I heard the following NPR broadcast which may bring some of the points that you made more into focus. Steve Ryfle seems to disagree with you about Godzilla’s movement in the 1954 film.

National Public Radio, Morning Edition, May 25, 2004.
“Original ‘Godzilla’ to Make Uncut Debut in U.S.”

David D'Arcy reports.

D’Arcy: “The story was inspired in part by a real American nuclear test in 1954 that irradiated the crew of a Japanese fishing boat. “

D’Arcy: (Talking about Crieg [Gregory] Pflugfelder, Professor of Japanese History at Cornell University) “He calls Godzilla the most important post war film made in Japan and a daring critique of American global hegemony. “

Pflugfelder, “It’s very clearly imbedded that if they [America], and more broadly, we [the free world] continue down this path of destruction in developing nuclear weaponry who knows what the result might be. And we as Japanese have a particular role to play within the free world as the one nation whose experienced nuclear destruction first hand.”

D’Arcy: “That’s not the message American audiences got when Godzilla opened here in 1956.
Steve Ryfle, author of “Japan’s Favorite Mon-Star (The Unauthorized biography of Godzilla)”, describes the ingenious way in which Godzilla was transformed into an American monster movie.
D’Arcy: “The original was made by the son of a monk. Ishiro Honda fought in WWII, was imprisoned by the Chinese, and recreated the battle of Midway for Japanese movie audiences.”

D’Arcy: “According to Steve Reifel, Godzilla was never supposed to look real.”

Ryfel: Japanese films routinely criticized by nonfans for not looking real. “I don’t know if the purpose especially of the films from the 1960’s was necessarily to make something look real. I think the purpose was to make something that looked spectacular.

Ryfel: “Honda, in particular viewed the monster as a personification or representation of the atomic bomb. Honda’s hope for the film was that it would inspire people rise up against the proliferation of nuclear weapons. And years later in the early 90’s, shortly before he died he regretted that this film had not made more of an impact. After all these years, he said, we haven’t even reduced the number of nuclear weapons by one, and he was quite sad about that.”

Ron Walcott

Ron, thank you for the additional information on Godzilla. Yes, this is an anti nuclear energy film. I was also interested in and fascinated by the underlying cultural elements (interpreting culture as construct).

Yes a wonderful movie! I also saw a theatrical performance by a group of international high school students in
Bangkok about 30 years ago. The production was stark and the vivid portrayl of the story quite well done. It brings me to ask if any teachers here have ever seen this 'play' done by students in America?

The Red Violin
Director: Francois Girard
The Red Violin is an interesting film that follows the “life” of a violin as it travels from Italy, to Vienna, to England, to China, and finally to Montreal, where it is being auctioned. The violin makes its way from England to China thanks to a Chinese servant who supplies opium to the English owner of the violin. The film shows a China in Mao’s time that is anti-Western in many ways, but especially as it concerns music. A Chinese music teacher is brought before a town meeting and humiliated for teaching violin and Western music. One of the party officers makes her way back to her home where she has hidden the red violin and some Western music records. She takes it to the music teacher, and he reluctantly agrees to take it and keep it safe after she is about to smash it. When he dies years later, the red violin is discovered and it joins a huge shipment of instruments that are being auctioned in Montreal.

This is an interesting film that succeeds on many levels. The Chinese segment is potent in communicating a side of China that many of us haven’t “seen.” I believe this segment would be good to show to students for the following reasons:
1) It is not a long segment.
2) It would open up a lively discussion about censorship.
3) It is subtitled, and would cause the students to read the translation.

WARNING: While the Chinese segment is acceptable for school viewing, the sexual content of certain scenes (especially the time in England) would get you in major trouble if you showed them in class.

Note: Wednesday, 2 June 2004 The UCLA Film and Television Archive is having a special Sneak Preview screening:

Wednesday, June 2 @ 7:30PM (Free Admission, Open to the Public)

THE STORY OF THE WEEPING CAMEL
(Die Geschichte vom Weinenden Kamel)
Directed by Byambasuren Davaa and Luigi Falorni (2003, Germany)

Inspired by Flaherty's NANOOK OF THE NORTH, an international group of
Film students at the Munich Film School decided to bring to the screen a world and a culture that predate modernity while persisting in the modern age. Their collaborators are a nomadic family in southern Mongolia who recreate the drama of their life, and that of their camels. And high drama it is, when the difficult birth of a rare white camel causes the mother to reject the odd specimen. Even the camera seems to be asking: Will the mare come around, or will her baby die for want of love? Eventually the parents send their boys to town - a picaresque adventure in itself - to bring back something so beautiful, so haunting as to make a grown camel cry.

-adapted from a note written by Judy Bloch for the San Francisco
International Film Festival

Presented in Mongolian and Russian dialogue with English subtitles.
35mm, 93 min.

This event takes place at the James Bridges Theater at the UCLA
campus.
For more information, visit the UCLA Film and Television Archive
Website at: www.cinema.ucla.edu

I rented The Story of Qiu Ju da. I have to admit I was not excited to watch a movie with subtitles, so i was already turned off by the assignment. This movie is about a pretty,young, very pregnant girl who fights for justice after her husband was kicked between the legs during an argument with the leader of their village. The movie starts off right after the kick between the legs happened, so you are not able to see the incident that the whole movie is dealing with. To start you watch for a painful amount of time watching the pregnant wife and her friend haul around the husband in a barrel as they are on their way for a long journey to see a doctor for help on his recovery from the kick. When they finally get to the doctor his advice is of course "plenty of rest".

Next, we get to watch them walk back to the village. Really exciting stuff! This is where I started to fall asleep. "sorry".
The wife decides that she wants justice. She goes to the police to tell her side of the story and of course he is friends with the chief of the village. He says the chief will have to pay and give an apology but all she really wants is for the chief to say he's sorry. Right about now I'm really zoning out. This whole thing seems to go on for the whole movie and if you feel the need to find out what happens in probably the last two minutes of the movie I dare you to go ahead and rent it. "GOOD LUCK".

The story of Qiu Ju Da was made in 1992. It is a drama and the length is 100 minutes. The language is Mandarin and was filmed in china/Hong kong. The movie was directed by Yimou Zhang

The movie was given a pretty good rating and supposedly won awards. Maybe you will enjoy more than I did.

Kwaidan (1965)
Also know as Kaidan (1964), Ghost Stories (1965), Hoichi the Earless, (1964) and Weird Tails (1964).
Available on DVD from Criterion Collection for $26.98. It is also part of the Los Angeles County Library collection on VHS.


Directed by Masaki Kobayashi

Story written by Lafcadio Hearn (June 27, 1850-September 26, 1904) and Yoko Mizuki. Lufcadio Hearn was born in Greece of a Greek mother and an Irish father, educated in France and England, worked in the United States, traveled to Japan in 1890, married Setsu Koizumi in 1881, became a Japanese citizen and took the name, Koizumi Yakumo. More information on his biography is found at:
http://www.imdb.com/name/nm0372499/bio

Rich source on the film, Kwaidan is found at:
http://www.imdb.com/title/tt0058279/

Kwaidan includes four separate and engaging Japanese ghost stories, "Black Hair", “The Woman in the Snow”, “Hoichi the Earless”, and “In a Cup of Tea”. “Hoichi” is a stunning, rich episode that combines elements of traditional music, history, spirituality, religion, humor, terror, brutality, and heroics. Hoichi serves in a lonely, rural temple near the sea as a storyteller of ancient Japanese history accompanying himself on the biwa (a kind of Japanese lute). True to the tradition of biwa players, he is blind. The ghosts of the Heike clan learn that he is the foremost exponent of their tragic story and they demand that he recite for them so that they may relive their sad demise. Unfortunately, for Hoichi his efforts progressively poison him and the temple monks seek his protection by completely covering his body with the scriptures of the Buddha. The scriptures written in Chinese characters render Hoichi invisible to the ghosts, but, as in the Greek story of Achilles, they forget one part of his body, hence the title, “Hoichi the Earless”. The film becomes brutal when the commander ghost rips off Hoichi’s ears attempting to take him back for yet one more recitation-- my middle school students loved-hated the gore in their imagination because you never see the ears actually come off. By the way, even if I did not mention “earless” at least one student was able to discern which part of Hoichi’s body was left unprotected. While his ears are being forcefully removed Hoichi remains stoically silent and is saved to participate in the future phenomenal prosperity at the temple.

The film presents stunning visuals inspired by the “Tale of the Heike”, which we read in “Anthology of Japanese Literature”. It shows the remorse of the warrior, Kumagai in “The Death of Atsumori” and we meet the tragic Lady Nii in “The fight at Dan No Ura”. It also relates to the Noh play, “Atsumori” by Seami Motokiyo. The film provides insight into the governing hierarchy at a temple with the head priest in charge of lesser priests, and temple servants who provide comic relief. Finally, students can hear the unusual sounds of epic chant accompanied by the biwa, which date from the 9th or 10th century. The late Toru Takemitsu, one of Japan’s more famous contemporary composers, wrote the original musical score. If the students read from the “Tale of the Heike”, learn about Japanese religion and beliefs and experience writing Chinese characters this film would serve as a brilliant summary of these activities.

Chunhyang - A film by Im Kwon Taek
This is a Korean film with English subtitles.
The story is set in the 18th Century. And it is told by a story teller and drummer performing before a Korean audience in a theater. It is the voice of the story teller that one hears throughout the movie, even more than the voices of the actors.
The jacket calls it "a classic tale of lovers torn apart by two different worlds...." It got rave reviews from the Chicago Tribune, Chicago Reader, The New Yorker and the Los Angeles Times. Frankly, I was most impressed by the cinematography directed by Jung Il Sung and the screen play, which seemed more like a work of literature than a screen play.
I must warn you, it has a slow start with only two characters (the storyteller and the drummer) on screen for about the first five minutes and there are no subtitles at that point. But it is worth the wait.
In the last analysis, it's all about loyalty, and the different types of loyalty that people have.
Unfortunately, there's no rating on the box, and there are some tastefully done nude scenes. In middle school a film must be rated G or PG to be shown. And to show anything else, you must get each individual parents permission, and students who do not get permission must be taken to another classroom during the film's screening. Therefore, films that require this process are seldom used, unless they are a critical part of the unit.

I've found Zhang Yi Mou's Hero for a very reasonable price via EBay at http://www.edaymovie.com/
They have a full catalog of Asian movies and ship from Indiana. The DVD I ordered played on both my computer and regular player. The only trouble I had with HERO was I can't read Chinese characters so it took me about 5 minutes to find the right button to click for subtitles.

This movie starring Tom Cruise, although historically inaccurate in many respects, was pleasantly entertaining. I think that clips from this movie could be used to draw out discussion and research projects about bushido, seppuku, the Tokugawa and Meiji periods, period clothing, armor, swords, and much more. Most of my students have heard about the samurai and are interested in learning more.

I came across an informative article on seppuku at www.artelino.com/articles/seppuku.asp.

I was wondering what grade-level the person teaches who is thinking about using clips from "The Last Samurai" in the classroom? The DVD version I have says the movie is rated "R". In middle school that is totally not permissible. How do you plan to get your clips approved for classroom showing or are you going to send home the notices to parents?

I have been meaning to post on "Mulan" since we discussed it in class breifly. But closing out the school year has really kept me busy. However, I showed "Mulan" - Rated "G" after the students studied China, and they really seemed to get more out of it. We had a discussion after the video, and I was quite pleasantly surprised at their ability to question and discern fact from fiction.

I use the showing of videos not only for content, but as practice in note taking, as well as looking at plot, setting and characters. In other words, they have a real assignment that must be turned in, within 24-hours of seeing the film.

If anyone can identify more "G" rated films, I certainly would appreciate it. I should ad, I'm looking for subject matter that is either literature turned into film, or film that deals in some way with ancient cilivilizations. Also, Science Fiction can be useful, as long as the science has some basis in fact.[Edit by="lshifflett on Jun 29, 10:09:22 AM"][/Edit]

This is in response to Lynne Shifflett's post about approval for "R" rated films. I teach high school English and I once asked the department chair about showing "The Lord of the Flies," an "R" rated film. She told me that I could send out notices to parents asking them to contact me if they had a problem with their child's viewing of the film; I would probably follow the same procedure to show clips of "The Last Samurai." (The department chair said that the notes seldom make it home.)

Asoka is one film I would like to preview. It discusses a leader who is important enough to be included in my lectures. It also appears to cover serveral impotant topics.
Many of these films seem more appropriate to lit classes. I find it hard to justify using the little time we have covering obscure or literary individuals, when it is difficult evough to cover a topic as broad as world civilizations.

I'm a big Kung Fu movie fan and could talk about those for a few pages. Iron Monkey is a fun film, great fight scenes. It contains some Chinese legend and follows the traditional sort of Zorro format. It has the cyphers well known in Kung Fu movies which I'm currentlt at a loss to explain. If broken down into it's heroic and story telling components I think it would be a great viewing for a classroom. What makes a hero or heroine- attributes, actions, etc. What makes a good villain? Every culture has mythologies and their heroes are imbued with what they think human perfection would be and what they would aspire to. Obviuosly there are fight scenes, but no death or dismemberment. I say, "Go for it!"
DEAN

Happy Together is one of those movies you see and feel it for days after. There is something very true about it. the film itself is hard to describe accruately. It is a love story, kinda. One of the most interesting things is that it takes place not at the beginning of the relationship where the two meet, are struck by a powerful feeling and overcme obstacles to be together. In this movie we don't see that. It is the middle of the relationship- maybe the end, and though thuings are not smooth love and need are obvious in the two male leads. The lead characters are Chinese, I think, but the film takes place in South America. The cinematography is startling and stark. It's unlike any movie I'd seen before. At the end I wasn't sure how I felt about it, but I was sure I felt something and, as I said it was on my mind for days afterward.

It's not appropriate for classrooms. Drinking, swearing, sex none of it gratuitous. The lead characters are gay, and I think it would be too heavy or just incomprehensible to younger audiences.

DEAN

Hello everyone, I am the invisible participant who is in the mountains of new Mexico trying to glean new ideas from fellow Asia-teachers-philes
A couple of films jumped into my mind as I read these postings. The access to them may be problematic, but we can pursue:
Princeton University had a wonderful week long "college" about 15 years ago where a "cinema verite" director had just completed two powerful and insightful pieces. One was "Full Moon Lunch" about a family who owned a "Bento restaurant which delivered all over Tokyp at lunch time. The photography and the tempo were terrific. The cooperation/conflicts and tension/comraderie among the brothers in the busy-ness (intended) was unusually openly presented.
The second film, "Farm Song" was shot on Hokkaido and the director lived with the three generational rural farming family, through the seasons out side and the generational dofferences inside. The treatment of the newest bride by the mother in law, was fascinatingly, politely unkind.
There is a third piece I use, put out by JETRO ( Japanese Educational, Trade something...) called"Katcho", about a suburban (sort of) Tokyo middle management father and his family and the workings not only of the inner office (from demotions to drinking enough to tell the boss of and get away with it) but also looked inside the absentee husband's family and home. It is short and timely. the old saying "RIch Japan, Poor Japanese" rings true in this film.
There is another called "Taxing Woman" which won several awards, and is, by Japanese humor standards funny and very much a statement about gender issues in Japan. Aanother about Ijime, or bullying is in my head but the title evades me...It is about Fireflies, and the one I like is not the animated version, but the other.
While not a family focused film, there is a terrific film called "Budo" whic the kids LOVE about the many different means of self defense developed depending on one's station from 1333- the Meiji.

I surely hope there is some kind soul in this course who is making his/her lecture and other notes available to Clay and Linda for photocopying, and am missing so much by being here.
Thank you and I 'll keep thinking.
Best, Jan Davis
University of San Diego High School

"Shall We Dance?" directed by Masayuki Suo is the type of movie that high school students would respond to. Also it is rated PG-13, so teachers wouldn't have to hunt students down for the permission slip.

Whenever I dim the lights to show a movie, I get the following questions:
1. Is it in color?
2. Is it boring?

This movie would work well in a literature class if Asian literature was being studied. This film illustrates the role shame and saving face plays in Japanese society. To briefly summarize, Shohei Sugiyama is a successful accountant who has accomplished buying a house and has a wife and child. His life should be full and happy, but he is lost. He takes the subway train to his job and is enchanted by a woman looking out the window of a dance studio. He gets up the courage to get off the train and decides to take a dance class. He does it at first to get close to Mai Kishikawa, who is reluctantly teaching after her father's dance school. She entered an international dance contest and fell down. She is lost, and rejects his invitation to dinner. As the movie progresses, Shohei’s wife thinks he is having an affair. She even hires a dectective to find out what he is doing. Meanwhile, after being rejected by Mai, Shohei has discovered dancing gives him a sense of self worth. It makes him happy. His wife finds out and he is so ashamed that he gives up dancing. You've got to see it. So, I won't spoil the ending.

I think that this film would keep the attention of my students and they wouldn't mind reading the subtitles. There is enough comedy to keep them interested. This is an extremely important when showing foreign films in the classroom

I am thinking of using this film in a unit I am developing for my seniors. The theme that I am working on is: Personal Identity vs. Family Tradition. This film would provide a great introduction to this theme. I would have my students focus on the character of Shohei.

See the movie. (a)

Shower is Chinese movie about a man named Da Ming. He comes back home to Beijing to visit his father and disabled brother. He is a successful business man who lives in the city and comes back to his neighborhood which is in a more rural neighborhood. His father owns a bathhouse which is a big part of this small community. Da Ming struggles to reconnect with old values because he is a part of the changing, contemporary world.

This movie touches mainly upon issues of changing cultural values (traditions vs. modern technology) through Da Ming who has moved on to the more contemporary world. There are other issues which could be showed as clips to students. Some issues to talk about:
- how women are viewed
- disabilities
- family

There is some nudity in this movie because it takes place in a bathhouse. You could use it with older students to talk about how culture is constantly changing. The movie itself is quite humorous, and I would recommend it for anyone who would like some insight into Chinese culture. It's a small taste of how people might struggle with keeping up with the contemporary world while trying to maintain traditions.

"Raise the Red Lantern" directed by Zhang Yimou illustrates the plight of a young woman who has lost her protective father and can no longer go to the university. Instead, she is forced to marry and become fourth wife to a rich man. Soon, Songlian learns that keeping the master's interest is everything and makes her life better. A red lantern is placed outside the wife's house and this signifies where the master will spend the night. The lucky wife gets a foot massage and gets to decide what will be eaten the next day.

The wives are bitter rivals and are determined to keep the interest of a man that the audience never sees. We witness these women willing to fight and outsmart one another, just for a little bit of attention. It seems that this is the only way these ladies can validate their identity. Showing women as victims who accept their fate, this movie shows that they will stop at nothing to be on top.

This movie provides the audience with a lively discussion about if women are willing to destroy others to be in a man's favor. My husband thought the movie provided of insight into the female mind. He said that he learned a lot. Needless to say, we had quite a lively debate.

I didn't really enjoy how the movie became a cat fight between the wives. I began to lose sympathy for Songlian as she became ruthless and lashed out at anyone who stepped in her way. She seemed determined to be top wife to a man that she didn't even love. I kept thinking that her life just didn't seem better when she was top wife. She hurt a lot of people, and it just didn't seem to be worth it.

I'm not sure I would show this movie to my students. I left with the message that a victim must destroy others to better their lives. It does show the inhumane treatment of women in China in the 1920's and was stunningly beautiful to watch. It just didn't send the "right" message.

I watched this movie at home and found the cinematography stunningly beautiful. The protagonist as well. I was really interested in clues as to when this was intended to take place (the 1920's sounds right) and the interplay between modern (she was allowed to go to university) vs. tradition (the whole set up was constantly reminding us what was the tradition). The viewer does not get enough dialog to really understand why the protagonist decides to act in the way she does. This leaves it to the watcher to try to understand the motivations. Did she really only give up the "third" mistress because she was drunk? Did she have no other way to get rid of the maid who was plotting against her? How did she use her university smarts to do things differently?

Raise the Red Lanternwas the movie I was referring to.[Edit by="rmansdorf on Aug 11, 9:37:40 PM"][/Edit]

Crouching Tiger Hidden Dragon
starring Chow Yun Fat, Michelle Yeoh and Zhang Ziyi
directed by Ang Lee

I first saw this film when it came out in the theaters in 2000. I was amazed and inspired by the beauty of the cinematography. The landscape shots are unbelieveable. I was also amazed at the martial arts in the movie as everyone else was. But, to say that this is a martial arts movie is a huge mistake. There are two warriors named Shu Lien and Li Mu Bai who are trying to reclaim the Green Destiny sword owned by Mu Bai. It was stolen by an young girl who was set to marry, but once she saw the sword knew she must have it herself. The film follows the characters as they fight each other to retrieve the sword. The underlying theme through out the entire film is love though. The warriors are in love with each other but neither are willing to share their true feelings with each other beyond a devoted friendship. The young aristocrat also has her true feelings revealed when she encounters a nomad with whom she falls in love with. Each character struggles with love through the movie and I always loved the relationship between the two warriors. They have such powerful scenes together, but are often times saying very little.

As I watched this film again it really takes on a whole new meaning for me. The themes we discuss in class and the literature we have read come up often in the movie. For instance, the issue of arranged marriages is a major part of the beginning. The young aristocrat is very abrasive and shows no resistence in expressing her own feelings. When she is approached with the subject of her upcoming marriage she tells her attendant how unhappy she is about it. She feels that she can't go where she pleases like Shu Lien, the warrior can. She thinks she would be so free to be a warrior.

Another theme that comes up a lot in the movie are the characters and their families. Shu Lien is working in her father's company delivering goods to people. One businessman is so pleased with her work that he says she brings great credit to her father memory. Another scene shows the young aristocrat being warned to not be so opinionated about things or it will invite danger into her father's house.

Such an amazing film, it is truly not to be missed. If you have seen it before it is a completely different movie seeing again after taking the Asian Families course. You pick up on so many knew things, even the set design of the villages and the clothing. I can't say enough about it. There's a reason why it is a winner of 4 academy awards!

Last May I posted a review of Asoka in another forum. I have re-posted it here so you will be able to read it. Please keep in mind that you can show clips from a film, and send home parent permission slips to do so. One teacher in my most recent seminar suggested that you make up a list of films and film clips you will be showing throughout the year, and send the permission slip home for all the films at the beginning of the school year, and/or whenever a student checks into your class. I have a new student folder, and the first day of school, I assign one cooperative learning group to keep the folder updated. I speak of it as though it is one folder, when in reality it is a folder for each student entering my class. I make up fifty folders initially for each class. That first day it includes a parent questionnaire, a student questionnaire, textbook sign out cards, the book report and reading criteria for the class, the two class rules (students later develop procedures for implementing the rules), a syllabus letter to go home to the parent, explaining what the child is expected to learn, and now I will add the film list. As more handouts are given to the students during the first five weeks of school, up to norm day, a copy is put in each individual folder, including those being held for new students.

So here is the review:
Film: Asokaa Santosh Sivan picture, Starring Shah Rukh Khan and Kareena Kapoor
The only concious reading I did about Asoka up to this point, was the few paragraphs in the 6th Grade Social Studies book. The film is set in the 3rd Century B.C. when Asoka "raged one of the bloodiest wars in history." The film makers are the first to admit that the film is based on legend. I'm just sorry that it is rated "R" and can not be shown in school. Legends credit Asoka with the spread of Buddhism outside the borders of India. It is said that he was so disgusted with all needless taking of life during the war that he waged against Kalinga, that he decided to dedicate his life to the spread of non-violence and Buddhism. Which raises a question for Clay. Was Ghandi's non-violence against the British occupation of India a result of Buddhist traditions or Hindu traditions or both? How does your answer impact Dr. King's following of non-violence and the Ghandi tradition of passive resistance? Or was it really passive?

So, jmaddox, there's your answer. The film is rated R. But you may want to look at it yourself, simply to add to your own knowledge.
[Edit by="lshifflett on Aug 15, 1:20:38 PM"][/Edit]

Film: Tampopo: written and directed by Juzo Itami, starring Tsutomu Yamazaki and Nobuki Miiyamoto

This film is not rated, but take out the sex scenes and the fighting scenes, and there are still some very funny scenes that can be used to simulate conversation in your classroom on culturally relevant topics. You might have your students do a research paper on polite eating habits in different cultures, sort of a do's and don'ts at the table, depending on where you are and in terms of world history, what time period. You might use the scene where the young ladies are being taught to eat noodles and what happens after they watch the westerner eat noodles. Have students demonstrate their research. Nothing makes a 6th grader happier than belching in front of the whole class, and then being able to explain why it's okay in the country and/or time period where he/she is eating.

The on-going plot of the film is the finding of the perfect noodle soup. And then the film is a series of vignettes that move the viewer ever closer to the perfect noodle. From the moment the film opens with food in the theatre, there are laughs and chuckles. It is certainly a way to liven up history and to introduce a little critical thinking about some of the societal norms we take for granted.

This film has been on the New York Times, Time Magazine and Los Angeles Times top ten film lists and was given four stars by film critic, Roger Ebert.

Film: To Live
By: Zhang Yimou
Starring:
Ge You - Fugui (husband)
Gong Li - Jiazhen (wife)

"To Live" is a heart wrenching film that deeply touches the core of all your emotions.
The film has a remarkable resemblance to the writings of Leo Tolstoy in that it makes the viewer feel as though they are entrenched in the characters daily lives. Zhang Yimou has the ability to reveal the sensitivity and honesty that each character portrays.

The film centers around life through the eyes of a Chinese family from the 1940's to the 1960's. Early on in the film, the husband, Fugui loses the family home to pay off his gambling debt. In disgust, his pregnant wife Jiazhen wants nothing more to do with him and she takes her daughter and leaves him.

Fugui makes a living by entertaining people with a set of shadow puppets that he acquired from the man who won his home. He becomes a prisoner of the Nationalist army and in order to survive he entertains the troops with his puppets. After a night of drinking he awakens to find the army has retreated and not far away the Red army is advancing. Fugui tries to surrender but the soldiers in the army walk past him. He adapts ever so nicely by joining them, and as time goes by, he eventually returns home to his wife, daughter and son.

Upon returning home, Fugui discovers that his daughter is deaf due to an infection caused a high fever. Despite the fact that times are hard the family survives under the new communist regime. Pictures of Mao Tse Tung appear in courtyards and are hanging in all of the homes. However, just when things seem to be looking up tragedy strikes. Fugui's youngest son is killed when a truck runs over him. The family is heart broken but they somehow find strength in each other to endure the hardship.

As life continues, an array of happiness surrounds the family when the daughter marries a factory supervisor for the Red Guard. The family rejoices when the daughter becomes pregnant. Once again, just when life takes a turn for the better, tragedy strikes. The country is in a state of turmoil when workers are arrested and accused of being capitalists. The Red Guards have arrested most of the doctors and young medical students are staffing hospitals. The daughter gives birth to a baby boy but complications arise and the medical students are not equipped to handle the situation. Consequently, the daughter loses her life.

The film depicts hard times following the Cultural Revolution but Jiazhen's character portrays an inner strength that enables the family to go on. Zhang has an incredible ability to see life in China from the 1940's to the 1960's through the eyes of ordinary people.

Janice Harrington


[Edit by="jharrington on Aug 16, 4:28:15 AM"][/Edit]
[Edit by="jharrington on Aug 17, 12:49:43 AM"][/Edit]

Film Review: Crouching Tiger, Hidden Dragon

For Western viewers who are unfamiliar with Asian films, this does not go outside the norm of Asian cinema. Like many Asian films, this one fits the mold of "examining reality" while many Western films have a tendency to "escape reality."

Simply out, Asian films have a tendency to "examine reality." That does not necessarily mean that these films are necessarily social commentaries nor do they attempt to give a prescription of what life should be. On the contrary, Asian films tend to be descriptions of reality even though the main characters can fly 50 feet in the air. The main character cannot escape certain fateor destiny which is usually tragic. There are no happy ending here not will there be part 2 with Chow You Fat magically coming back.

Where this film tends to reflect the gender shifts (as we spoke in the seminar) in modern culture is the good/bad character plays between the old witch (Cheng Pei Pei) and the young girl (played by Zhang ZiYi). Pei Pei plays the evil old vilain (a bit shammanisitic) element of society that should be gotten rid of. While Chow Yun Fat, the noble master, wishes to bestow this great sword to a successor, the successor happens to be a girl instead of a boy. This type of a plot has obvious implications toward heroines and matrilineal heritage.

If the viewer is not overly carried away with the choreography, this film can give a meaningful insight into the world of changing gender roles and accepting a bitter fate

dave

I think this film has, on the surface, many things to say about women such as women's role as sex objects, limited opportunities, giving birth to sons and having to fight for power domestically against other women.

As I watched this film, I could not help but continue referring to similar stories in the biblical account in the story of Abraham and his two wives, Sarai and Hagar. Sarai was Jewish and Hagar was Egyptian. Sarai could not have a child so Abraham is allowed to have a child with the mistress Hagar who gives birth to Ishmael, the half Egyptian. Similarly, we have in Raise the Red Lantern Songlian (the fourth mistress) fighting mostly against (Cai Fei) the third mistress.

I think, in a way, films portraying women as martyrs or victims is not that new. Many religious and literary histories across cultures can vouch for that. I think what was unique about this film was that in the biblical story of Abraham, the reason for Abraham having sex was out of his wife being unable to have children. In that case we will justify Abraham's situation as POLYGYNY (or simply having many wives due usually to ensure the survival of species). But the reason why the master has four wives in Raise the Red Lantern is POLYGAMY (many sex partners). We know that because the master's first wife had a son. In that way, Raise the Red Lantern makes the female view of male and social norms as even more fractured and negative.

dave

This film is about a man (living in the city) going back to the countryside because his school teacher father had passed away. He tells the romance story of his mother and father. His mother played by Zhang Ziyi (from Crouching Tiger) was the "typical" chinese dedicated woman/wife. She was taken with the school teacher when he first came to her village to teach. I thought it was really sweet that Zhang Ziyi's character did things to be close to him. She cooked everyday using the same bowl (hoping he would notice and use her bowl), went to the water well near his school and watched him whenever he walked the children home. She "sacrificed" by waiting for him by the road for him to come back to her village. Basically she was sick waiting for him in the snowy winter days...but she continues to wait for him anyway. In a way, the film shows what a typical chinese woman should do for her man...should be dedicated, self-sacrificing, devoted to one man, can cook...etc... It shows what a great woman should do to become a good wife. Throughout the film, she showed her perspective and her "sacrifices" but it doesn't show the guy doing anything to initate the romance or giving up anything for her. This film shows what a man's role is (dedication to his country--in this case his school) and the woman's role (dedication to her man/family). I did like the film though. It has a sad ending but touching at the same time. The woman was determined to have her husband's body carried home (a tradition in their village). The ending reflects what the father had done for his community. His students showed their appreciation by traveling from numerous different places to carry his body on the long road home.

A woman in the turn of the century China had to impersonate the male heir to the family fireworks factory. She was fine with this arrangement until she met a man. I don't want to ruin the ending but it is a sad ending. The woman has an obiligation to the family and has to sacrifice love for the good of the family and her people. I was angry with some of the men in the sorry because they didn't care about her feelings. The film isn't as entertaining or fast pace. At times, it seems quite boring because it moves at such a slow pace. I wouldn't recommend this movie for the classroom because it does show some sexual activity and it isn't that entertaining. However, I would recommend this to teachers so they can see the dedication and obiligation people have to their family.

For those of us who can't quite understand what life might have been like under taliban rule in Afghanistan, "Osama" is the film equivalent of "required reading." The cast of amature actors amazed me with their portrayals. I intuited that much of it wasn't acting. These people apparently lived through this and the fear I saw in their eyes may not have been a planned reaction, but a reaction to ghosts of the past.
The title character, an Afghani girl, is dressed up as a boy by her mother and her grandmother so that she can go out into the world and earn money for the family. I find it interesting that we never find out what her name is. We are only given her pseudonym, Osama. After her transformation, she is threatened by a local "street rat." After this encounter, the boy, Espandi, begins to sympathize and takes it upon himself to protect Osama. He becomes her ally and their friendship is touching.
The ending is an unhappy one, subtly revealed by the director. This reminds us of the harsh realities of life under taliban rule. Although the movie gives us glimpses of friendship and happiness, the overarching theme is one of persecution and misery. The director never lets us forget that life under taliban rule was no picnic. I doubt that the Afghan people will ever forget.

'The Way Home' Review
I just saw this movie at the Korean Cultural Center on Saturday. That was interesting to me since I didn?t know about the center until going to the movie.
I?m giving this movie a rating of 2 thumbs up. I found both the subject and the cinematography great.
It deals with the culture class of a poor woman, the grandmother, living in a very remote village and her grandson from Seoul. The movie shows the humanity of the village life. You don't feel sorry, as so many movies do for the people in the village.
I went to the movie with a friend whose family if from a small village in Mexico. She could totally relate to the movie. She hated the kid at first because of the lack of respect he showed. Then she was mad at the mother for not teaching the kid better.
I think this would be a good movie to show in the classroom because some of the kids definitely could relate their own lives to the lives on the film. I think it would thus show the similarities between the lives of the families of the different nationalities in my classes.
Also on a side note, my friend and I were discussing after the movie, that you didn?t really need the English subtitles to understand the movie. The fact that the grandmother was mute let this happen.
The view of the Korean countryside was great. The times when there was no music so you could hear the countryside was spectacular.
Melody

I recently saw "Zhou Yu's Train" at the Laemmle Playhouse in Pasadena. This is Gong Li's, the famous Chinese actress, latest film. The story is about a beautiful woman artist. A passionate fiery woman, she falls in love with a quiet shy poet and then proceeds to visit him by train twice a week. On the train, she meets another man, a more worldly veterinarian, and a love triangle ensues. This is a tale of obsessive love. Cinematically speaking, I particularly enjoyed the views of the Chinese countryside from the train. A lingering question that remains is, why do independent minded and rebellious heroines always come to no good end in Chinese cinema?
Catherine

Film Review: Crouching Tiger, Hidden Dragon
This film is directed by the very talented Ang Lee (among his many films are "Eat Drink Man Woman" and "Sense and Sensibility").
I watched this film approximately one year ago, however after taking the Asian Families Seminar, I chose to watch it again and apply the insight and information I learned in the Seminar to my understanding of the film. I must say that the second time I watched it I was able to notice things I hadn't before; I particularly was looking at dress, furniture, behavior between men and women, family, and behavior between the different classes.
I also appreciated the film much more the second time around. What a masterpeice! There wasn't a dull moment throughout the film! You didn't even have to read the English subtitles to appreciate this film. It speaks for itself.
This film takes place in China several hundred years ago, during the Qing dynasty. The story begins with the legendary martial artist, Li Mu Bai giving his amazing sword "The Green Destiny" to his friend as a gift. He sends his long time friend (and also his love, however they have never openly acknowledged their love), Shu Lien to present the sword. Before long, the sword is stolen. Thus begins the quest to find the sword, and on the way, love, revenge, and family ties are found. Along the way, we are treated with absolutely stunning sword fights across rivers, rooftops, and bamboo trees. It is so beautifully filmed, and you are riveted to the screen until the end.
I highly recommend this film, and if you've seen it before, see it again; you will gain new appreciation and insights with each viewing.
This film can be used in the classroom, it is rated PG-13. I would recommend it for junior high and high school students. It can be used for lessons on Chinese history; it shows the way houses were built, the dress that was worn, and the schism between classes. The martial arts sequences will keep any student entertained!
Miriam

I watched "Quitting" yesterday. I agree with other classmates that this is a depressing film, portraying the alienation, isolation, and downward spiral of a 29 year-old actor who has been hooked on drugs for 4 years, while continuing to drink alcohol and chain smoke like a fiend. Clay brought this film up as an example of Confucian filial piety in reverse - the parents need and obligation to save their son at any cost. The father retires early and the whole family moves to Beijing into the son's apartment.

Would an American family make this kind of sacrifice even while the son is belligerent, abusive, and full of distain for his parents? In Chinese culture, it is considered auspicious to have several generations living under the same roof. In the United States, western individualism dictates that the younger generation be on their own to figure their own life out. I believe that most American families would not make the kind of sacrifice portrayed in the film. It also makes me wonder if that extreme sacrifice was necessary for the son's recovery. Perhaps. In the west, we have extensive 12 step programs which assist the addict in taking personal responsibility for one's life and situation. In the end, this Chinese family's love wasn't enough to heal him - they still needed to institutionalize the son for him to make a full recovery and finally accept personal responsibility.

One aspect of the film that I did enjoy was the play within a play device. We discover that the actors are actually playing themselves while telling their own true story. At one point, the son gives a monologue about how he is just a human being. It becomes clear that all of us are just playing a role as a human being in this ongoing drama we call life.

Catherine

The Family Game. This 1983 film by director Morita Yoshimitsu offers a view into Japanese life that is often put on a pedestal: the idea of putting more time into education and tutoring. The father (Itami Juzo, director of Tampopo, a Taxing Woman, Ososhiki) hires a tutor (Matsuda Yusaku) to help raise the grades of his middle-school aged son. What we end up seeing are a number of things that are perhaps not intended: It is striking to see the tiny apartment in which the family lives. We see that the older brother is allowed to goof off since he is doing OK with his grades. We see what verges on child abuse as the tutor slaps the student when he is not getting down to the business of studying. In many ways this is a film that will teach the viewer much about Japan, and the place of education in that country. We also see how the tutor teaches the boy how to grow up and stand his ground, especially in a scene where he is taught to fight. At times it seems like a black comedy, owing much to "play-like" staging of the actors, the sparse use of sound, and quirky dialogue. All in all, it is a good example of cultural specificity, and could be used to spark discussion about the value of education in Asia and the U.S. The Family Game is a good one.

I borrowed Tobia's copy of High and Low byAkira Kurosawa. It was set in post industrial Japan around the 1960s and the first thig I noted was the relationship between the husband and wife. The wife was submissive and gentle, while the husband, who was in angst, told her that his job was none of her business, that she knew nothing of it. There was the sense, though, that the wife did have the right idea, and that her predictions would come true. She was confident, also, on how her husband would decide to act on the ransoming a child.

The second aspect about the movie that interested me was the use of Western clothing, cars, and cowboy outfits. The little boys were tumbling through the house playing cowboys and Indians, the businessmen wore shirts and suits. The wife, however, wore traditional (as far as I could tell) clothing in one scene and a Western dress and pumps in another scene.

From Belinda Young

ISBN1-56331-269-7 Discovery Channel, 50 min, 1995 CAN GET THROUGH LIBRARY
I wanted to explore the various resources available through the LA Public Libraries and found them rather wanting (to be generous). This film was an historic perspective that describes the Forbidden City as the largest palace complex still in existence (999 rooms, surrounded by a 35ft wall extending 2 1/2 miles) and gives detail of Chinese history.
Kangxi's period of rule during the Golden Age explains the "kow tow" as well as his study of astronomy with the tutor from the West, Ferdinand Verbiest, who brought the knowledge of Kepler and Galileo to China. One of the Manchu emperors, he took away the powers given to the eunuchs during the Ming Dynasty and turned them back into servants. He also reduced the number of concubines to 100 from the 1000 during Ming. There is a discussion of how the eunuchs tried to have their mistress selected. Additional emperors were discussed. One suggestion: none of the names are on the screen. They only tell you the name, so someone taking notes on the film will wonder about the spelling. Put spellings on the board if you want students to do notes while watching.
The role of the British East India Company in opening the Chinese markets to Europe is very well explained. Beginning with Lord McCartney's kneel (rather than kow tow) to the empty throne with a scroll telling him China had no need for European goods, we witness raw imperialistic power at its worst as Britain floods the Chinese markets with opium and sends gunboats to prevent the emperor from stopping the inflow. The 1858 treaty allowing opium undermines the emperor's power and results in an influx of western barbarians with troops to protect their economic interests. On to the Boxer Rebellion and the People's Republic in 1949.
I think this is a worthwhile film to use during the China Unit in 7th and will recommend that it be bought for our library at school. Anyone can order it from the library, if its not in your branch. The length means that it will fit within one class period. And, no rating problem.

If you read my previous post, you know I've been checking out the films through the library. This is one of the few others that is available. Another Pearl S. Buck was in the file but had been stolen/not returned. So, this was the only one I found that was in English. It's 1937 vintage and stars Paul Muni. It epitomizes the Hollywood discrimination against Chinese by having the main characters all portrayed by Caucasians. I watched this immediately after having listened to the unabridged books-on-tape.
The story is about the peasant Chinese farmer and the struggle to survive. He starts with nothing and learns quickly the value of owning and working the land. His wife, a former slave from the House of Wong, works side-by-side with him in the fields even as she gives birth to their children. The importance of sons and devaluing of women (called "slaves") is throughout the book. There is also the difference in crops between north and south (wheat vs rice) described as the family moves south to avoid famine. The story tells about he marauding bandits who terrorize and destroy farms and villages and the uncle who was a member of the gang before moving in as his nephew gained in wealth and prestige. The second wife is brought into the house. Children wed and the transition to the next generation is underway as the story ends. It's doubtful they understand the value in owning the land.
I liked the book and reacquainting myself with it. Most people probably recall it from our early days as students. The movie followed along the main lines with little deviation in the story, but the acting was too stilted for modern audiences, in my opinion. I wouldn't use it in the classroom, but would consider assigning the book as an extra credit book report.[Edit by="lsutton on Sep 11, 2:00:33 PM"][/Edit]