The Story of Qiu Ju directed by Zhang Yimou is a movie which realistically presents the life of Chinese community. Being accused in too idealistic presentation, Zhang Yimou was sure that his has done everything correct, giving the civilized Europe consider the real life of Chinese poor population. Even thought this movie is not documentary one, there are several particular scenes in the selected episode which show how exactly Chinese rural people live, how they work and what social problems they possess. Analyzing the episodes under consideration, it is possible to conclude that such formal elements as mise-en-scene, image, and editing help convey social relationships in the Chinese community and the power of personal independence. Chinese community is presented as a legal place with the opportunity of simple people to sue on authorities without being afraid of pressure or another unfavorable relation.
The first episode which is to be considered is the mise-en-scene shown on the figure 1. The location of the characters speaks for their position in the family. Chief, as the main person in the family is shown higher than others. The effect is doubled by means of camera position. The director of the movie shots this mise-en-scene not using parallel between the camera and the floor. The director locates the camera in such a way to show the head of the family from the floor. The whole family works in silence as the head does not speak. During this mise-en-scene the only sound which is heard is the sound of the work. The combination of image and sound in this shot strengthen the impression for the seen scene. In other words, the image, the silence and the only sound of work support the idea of social inadequacy in the family of the chief (Pramaggiore and Wallis 210).
Figure 2: Qiu Ju and Wang Shantang talk to one another (The Story of Qiu Ju).The second episode which deserves attention is the mise-en-scene where Qiu Ju and Wang Shantang talk to one another. The social position of these two people is presented. It is obvious that the Chief is sitting while a pregnant woman, Qiu Ju, is standing. A deep respect to the Chief is shown, even though the woman disagrees with his methods of government. The individual rights are shown as well as the social interconnections, “suffering as an alternative political language, thus giving their works the appearance of affirming “individual rights and freedoms against totalitarianism” (Chow 115).
The director wanted to show that no matter who is standing before the Chief, he is going to be the main doing everything he wants while others are to obey and to do whatever he wants. Paying attention to the dialogue, Qiu Ju and Wang Shantang speak about Qiu Ju’s husband and the necessity of Wang Shantang to apologize. Even though Qiu Ju expresses respect by her actions (standing being pregnant) she announces her intention to go to the court. This episode is important in understanding social relationships in China. Even though the Chief is the head and no one dares to reject this issue, people still live in the legal society, they are sure that the law is equal for all and if the Chief deserves punishment he is going to have it.
The third episode which shows unequal social relationships in the Chinese community is the scene where Qiu Ju gives money to Wang Shantang but he does not even move. Qiu Ju has to bend I order to give money. This episode proves one more time the inequality of the social relationships in Chinese community. If to follow the editing and the watch next shot it may be seen that the director has thought about each of the details. The camera while communication moves depending on the person who speaks. The movement from the height to the ground and from the ground to the height is made to show one more time the dependence of the woman from the head of the community. However, the conversation these people lead does not support this point of view, “this need for self-governance is defined, paradoxically, by way of an essential lack-the lack of food-and thus as a matter of biological survival: the need for self-sustenance” (Chow 117).
In conclusion it should be stated that the episode under consideration shows complicated social relationships in Chinese community. On the one hand, people respect the Chief even when they are sure that he has committed an illegal action. However, at the same time, people are ready to go to the court and they are free to tell about it without being afraid of punishment or different attitude. Such particular relationships are possible in legal society where people are sure that everyone is going to get whatever he/she deserves and if one is to punished he/she is going to be. Concluding, it is possible to stress the following idea of the movie in general, “In The Story of QiuJu the central polemic, the “end” being pursued by the narrative, is not justice in a legalistic sense of the word, but something prior to it, which forms its historical and moral pre-understanding and constitutes its social, political, and even cultural (one may dare to say) foundation” (Zhang 296).
Works Cited
Chow, Xey. Ethics after idealism – Theory-Culture-Ethnicity-Reading. Bloomington: Indiana University Press, 1998. Print.
Pramaggiore, Maria and Tom Wallis. Film: A Critical Introduction. New York: Laurence King Publishing, 2005. Print.
The Story of Qiu Ju. Ex. Prod. Zhang Yimou. Beijing: Sony Pictures Classics, 1992. DVD.
Zhang, Xudong. Postsocialism and Cultural Politics. 2008. Print.