In fact, Change gives us a writer’s argument for weaving the private into the disrespect for privacy does not mean peeping at other people, but more or less with Wang Aziza, the character, Change Feels so shocked’ as to be engaged in words, characterization in the story and the subject of love and betrayal actually come from Change’s tragic experiences of love ND marriage. As she comments on her love experiences (and also Wang Chassis’s), Owen one loves somebody, one does not do so because one considers it worthwhile to love the persons’ (ibid: 280).
It means that love is a human sentiment detached from any moral/political Judgment, hence, her and Wangle’s relationship to that man should not be Judged from a moral/ political perspective. As a woman with experiences of Blind love’, and as a writer aware of her sense of loss and her sorrow over the passing years 0- Such feeling cannot be recalled again, it seemed long-lost nine when it was felt again’ (0′ 9 poet Lie Sashaying (Xx 1988: 352) about the pain of loss and the memory of it, Change Lust, caution can be seen as a form of transcription or translation of her own life experiences.
Let us turn to the style of writing in the postmodern context. Postmodernism, as we understand it, is a style of art and culture in the late capitalist society Meson 1991). Postmodern art represents the interrogation of modernist thinking and the dissolution of the grand narratives such as development and national history, as well as a multi-perspective rethinking of convention, history and ideological assumptions.
Postmodernist artists undermine the various normalized Concentrate’ in Western cultural convention, while embracing contradictions, fragmentation, intellectuality, pluralism, indeterminacy, incoherence and the Other through the work of disinterring’ (Cards 1996). Parody becomes a characteristic style of postmodernist representation (Hutchison 2002: 890-90; Jameson 1991), which OSI always critical’ and Value-parallelizing’ (Hutchison 2002: 890-90), rather than being simply narcissistic Meson 1983: 117).
Besides, the representation of the body and desire and the schizophrenic subject becomes an important presence Meson 1983). Concerning history, postmodern historians question the representation of narrative of the past or a mediated representation of ideology Meson 1991 : 294), introducing competing views of history. With the intellectual interrogation of cultural convention, the postmodernist perspective represents a current of cultural rebellion. Mere substantiation of one piece of work into another in a different medium, but is the creation of a new piece of work with its own insight, vigor and agency.
Therefore, a comprehensively decentralized world of images and simulations, adaptation becomes Just another text, forming part of a broad discursive intention’ (ibid: 10). In other words, adaptation is a cultural practice and a process of representation. Meanwhile, in the postmodern context of disinterring’, adaptation has become Dada critique of quietly assumed, unmarked normatively which place whiteness, Europeanizes, maleness, and heterosexuality at the center, while normalizing all that is not a deciphering process in the representation of contemporary times.
While Change’s Lust, caution features the representation of her private experiences, Lust/Caution is more of a postmodern and political text, with conspicuous The informing (Bernard Birthplace 1970), the rewriting of history, the employment of parody, and the celebration of the body poetics. These postmodern characteristics implicate insightful outlooks on the issues of Self and Other, nation, history and identity, making the adaptation a recreation of a postmodern cultural poetics.
Intellectuality: nationalism, Self and the Other Lust/Caution, as a result of a cinematic production, is The conformist in terms of narrative and subject matter, as well as visual technology. As the relations between texts are highlighted in intellectuality, which then calls for the Continuing interpretation and reinterpretation;’ The conformist is about Marcello, a fascist in Mussolini’s time, who is instructed by his leader to assassinate an active anti-fascist for Mercenary’s motive of self- normalization, a process of completely subordinating himself to power.
His childhood sexual maltreatment by Onion urges him to pursue normal self/identity, middle-class bourgeois taste, and to seek recognition from the fascist party. Stricken by the priest’s view that sexual transgression is more sinful than murder, Marcello chooses the assassination of his former supervisor in philosophy, an exiled nationalist, to rove the existence of his normal’s’ self. Simultaneously, the young wife, who is transgression of the norm of heterosexuality.
What is particular condemns Onion as the professor’s assassin, showing Mercenary’s shifted identity and of fascists and the inhumanity of fascist ideology which subordinates people to control, while offering a penetrating analysis of Mercenary’s consciousness and his promulgation and the of human subjectivity 0- the desire for identity, the process narrative and the subject matter of Lust, caution are similar to those of The conformist: Wang Aziza ( a university student during the anti-Japanese War of the early 91 sass, follows Kiang Yummy nationalist passion, participates in his nationalist campaign to kill Hi Mooching a fascist and a Chinese national traitor, but turns out to be in love with him while self as a nationalist subject (when hailed by the nationalist discourse/ideology) and Lust/Caution the representation of a shifted subject position in the chaotic age of Japanese/fascist occupation of China. Thus, the intellectual connection between Lust/ Caution and The conformist is evident in both the narrative construction and the object matter.
In spite of the similarities, the differences in the narrative are more meaningful: one is the narrative of a fascist killing an anti-fascist, while the other is the antifascist’s attempted murder of the fascist, which ends with the death of the former. This connotation, as contained in the difference and similarity, can be further disclosed by In fact, this killing scene does not exist in Change’s story, but appears only as The conformist, in the style of Death of Caesar’ (Lee 2008: 165, 188). And this intention of Copying’ can be further supported if we note the many other molarities: both sympathy with the tragic victims and condemnation for the murderers.
However, the appropriation of the scene in Lust/Caution showing the killing of Ala Cacao (who only happens to drive for Hi Mooching during the latter’s stay in Hong Kong) seems to suggest compassion for him and condemnation for the killers. As is evident in this scene, shots of the youths surrounding Ala Cacao and stabbing him until he lies on the ground covered in blood, seem to reveal the absurdity of Theorizing’ people and the inhumanity of suppressing/removing the ideological Other’s’. Actually, this stance an be further revealed through the representation of Kiang Humming’s motive for killing through his confession: just kill a traitor to the Chinese, to release the hatred chain of the narrative as the driving force behind the students’ participation in the assassination and the instrumentalists of Wang Aziza and her body.
Here it shows the director’s outlook on nationalism: it is the dangerous old that causes the division 92 between the Self and the Other, as well as the dehumidification of human beings; the scene of the Death of Caesar’ from The conformist connotes the consciousness of presents the same violence as the killing of the anti-fascist professor in The conformist. The two assassinations are equally condemnable, as they are both scene of Death of Caesar’, the director attempts to critique the ideological subjection of the Other and to dissolve the grand narrative of nationalism. In a word, through this intellectuality with The conformist, with similar narrative earnest wish to subvert the discourse of nationalism, as well as the ideological divisions of the Self and the Other, and his hope for peace, equality and co-existence in this world. Broadsword march: representation and history
Broadsword march ( university experiences, providing the background for the narrative of her role as an young Chinese soldiers passing by the university students are marching and singing the song Broadsword march nationalistic resistance to the Japanese invasion, the representation of Broadsword march representation of history in the national crisis of China in the sass. Originally, Broadsword march was composed by Maim Kin (), a musician in the Shanghai, to greet the 29 Division of the Augmenting army which heroically defeated the Japanese with their gung in Shania Province in 1933, and hen at Logout Bridge in Beijing, after 7 July 1937. The song praises and advocates nationalism and patriotism: Stab the Japanese devils 0- Brothers of the 29th Division; It is time to resist the Japanese invaders. It is time to resist the Japanese invaders. Before you, so did the pioneers of the Northeast; After you, came all the patriotic Chinese. 93 Shannon Ding Just come, And stab the Japanese devils.
These lines show the intense anger and indignation of the Chinese at the Japanese invaders, as well as their strong patriotic and nationalistic spirit, which serves to r to subvert the previous narrative in Mainland China, that anti-Japanese actions were dominated solely by Communists 0- a narrative which actually erases the active participation of the Augmenting armies and implies a distortion of history. In fact, only been associated with images of Communist-led armies and people, as shown in mainstream media representations in Mainland China, where no reference is made to the Augmentation’s participation in the nationalist anti-Japanese war. As a result, to many mainlanders, only the Communist army was actively engaged in resisting the Japanese, whereas the Augmenting armies only showed passive resistance to the invaders (with the main objective of suppressing the Communist forces for the programmer and history books, with the narrative of anti-Japanese experiences).
Thus, representing Broadsword march in association with Augmenting images to signify the Augmentation’s active endeavourer in the anti-Japanese war is a different narrative of history, making the absent present to the general public. It connotes history and subverting the mainstream narrative, which is part of the strive for Apolitical correctness’ in treating Chinese experiences. Actually, Else’s attempt was later positively supported by the changing political and cultural climate in the global world, and by the ego-politics between Mainland China and Taiwan: with a shift in attitudes on the mainland (from confrontation to co-existence between the Communist and the Augmenting parties), President Huh Jigging asserted the Augmentation’s active role in the anti-Japanese war in his 2009 New Year Greeting Speech to the Taiwanese compatriots’ on Phoenix TV in Hong Kong.
In the speech he acknowledged that the Augmenting armies Fought in direct confrontation to the of the history of this war in China. It was only recently that the Augmentation’s active Song of resistance ( ) (2009) and in TV drama series such as The company of Chinese brothers ( ) (2009). Therefore, Lust/Caution politics of rewriting history and subverting power. Parody: romance and nation As a popular style of art in postmodern times, parody, with its copying of another text but used in a different manner in a new context, is ironic and rebellious’ in the seeming playfulness and ambiguity of Double-coded politics’ (Hutchison 2002: 97). Therefore, parody is a kind of contesting revision or rereading of (ibid: 91). Assumptions of nation and nationalism.
The previous discussion of the scene depicting the killing of Ala Cacao, which parodies the killing scene in The conformist, is ironic, condemning patriotic passion or nationalism as the source of violence and narrative about the changing relationship between Wang Aziza and Hi Mooching, an entertainment centre for Japanese soldiers to meet Y’, Wang Aziza witnesses melancholy and despair in both the Japanese soldiers and in Hi Mooching, due to the frequent Japanese military failures in China. Sympathizing with Y’, Wang proposes to sing a song for Hi, but surprisingly, it is To the end of the world (). A popular song in the sass, it has become known as a patriotic’ song in China ever since, due to its nationalist sentiment. To the end of the world originally featured Street angel ( ), directed by Yuan Muzzy ( ), and starring Ouzo Guan ( resistance to the Japanese invasion of China. Street angel is about the tragic love between two sisters who have escaped from their Japanese-occupied hometown to Shanghai, and two poor young men on the streets of the city.
With the narrative set in the sass, the Japanese invasion and their occupation of northern China are often in some shots: en character is represented as collecting newspapers as a hobby. Of Chinese homes to the Japanese. One of the song writers, Titan Han (), is a symbol of patriotism and nationalism: his song, The march of the pioneers ( legitimated as the national anthem of the People’s Republic of China. The other writer of this song, He Eluting ( ) to support the resistance forces after the Japanese occupation of Shanghai in her name because of her extraordinary performance in singing another nationalist song, The light for the nation (), in which there is a line advocating Tactic resistance to the Japanese invaders’ (0′ 0′).
During the Japanese occupation of Shanghai, Chou Guan, one of the most popular actresses in China in the sass, chose to retire for a time from both stage and screen, to assert her uncooperative attitude towards the pro-Japanese government. Thus, as a pop song in China, To the end of the world ( ) is a sign of romance, but also one of patriotism and nationalism. In this case, the use of the song here is highly political: when Wang Aziza, the detective on the Chinese side (who is also an anti-fascist), is shown to be entertaining compassion and understanding for him, but also reveals something of their intimacy. This periodic representation does not indicate playfulness’s’, but shows an ironic attitude towards nationalism and patriotism in relating such character roles to romance.
The periodic use of the song here certainly does not feature in Change’s verbal writing, but is in Nag Else’s imagination: it demonstrates his intention to deconstruct the grand narrative of nationalism and the notion of national identity. Body poetics: women, nation, identity of China, issues arise relating to women, nation and identity. For many Chinese, greatly to Change’s tragic experience with Huh Luncheon, a man of letters and an as a traitor. Because of him, Change was held in wide contempt after the anti-Japanese War, and was even denied a position in Chinese literary history in post-1949 China, an historic event taking place during the Japanese occupation of Shanghai, where a young, female Augmenting agent, Ghent Pining ( ), spied on a pro-Japanese ), but died heroically after being detected by the latter.
Change’s narrative is conspicuously a representation based on her own experience and Ghent Penguin’s event, as can be seen from the naming of the main male character as Hi Mooching Ding Macon and Huh Luncheon in arguments about whether traitors to the Chinese action should be praised as heroes and be represented as being admired by women: if the answer is eyes’, it is both a distortion of history and a violence done to Chinese national heroes such as Ghent Pining. Some critics (Lie 2008: 91) severely criticism the dark effect of Killing;’ heroes and distorting history within the narrative. Moreover, the Body sequences’ screened in cinemas on the Chinese mainland. In this case, it is necessary to decode conceptions of the nation. Of Change’s pistachios focuses on the character’s consciousness and the story-telling resembles a self- examination. In other words, Change’s narrative is characterized by combining the character’s consciousness with detailed depictions of certain events, such as the women playing mahjong’s at the Yes’s.
Certain Cutout’s’ or Seam’s’ can be discerned between the narration of scenes or events, and between events and consciousness. The bodily experience of the male and female protagonists is narrated, but only in two sentences depicting Wang Chassis’s consciousness. However, changes in the character’s consciousness or subjectivity are represented elaborately through a recess of body narrative, which drives the main narrative to the climax in the causal chain of narration. This mode of adaptation is not only due to differences in the media forms (verbal and visual), but also intended to signify the subtlety of identity and the cultural meaning between the body and the nation.
Thus, through The narrative of Wang Chassis’s experience is a process of cultural politics, exposing the patriarchal inscription of power on the female body. Codes of patriarchal discarded by her father 0- he only takes with him her younger brother to Britain, to evade the AR. Being homeless and solitary, she desires to Join her father for her own safety. She becomes a symbol of oppressed women in the China of old: women were assumed to be worthless and were unwanted by the family, I. E. Society centered around male power. However, the female body is taken for a useful object in male politics, nationalist male student Kiang Yummy in his plan of revenge.
Then, the instrumental use of the female body is constructed into the grand narrative of nationalism, in which the female body is archeological’ used for the nationalist discourse, like the 97 hemolytic role Wang Aziza plays on stage: with her father dead and her elder brother killed by the Japanese, the girl is represented as being so capable and courageous that she shoulders the responsibility of taking care of her deranged mother and an injured soldier. In addition, she gives voice to the nationalist discourse. The role she plays is allegorical of her life experience, and the creation of such an imaginary stage and patriarchal power, which shifts the responsibility for the family and nation to women at a time of national crisis 0- the same women who have been discarded by f women in patriarchal society through the representation of Wang Chassis’s dilemma and her ambivalent experiences in the name of nationhood.
Nationhood connotes male power, especially in a patriarchal society where women are downgraded to the inferior sexual other, like Wang Chassis’s mother, who is assumed added’ and absent, and the mother of the female stage role, who is portrayed as deranged. Similarly, Wang Aziza herself is either unwanted or else is needed as a male instrument. In this case, nationhood becomes a conspiracy to Otherwise’ and to manipulate women. Thus, are not simply phantasmagoria of the mind but are historical practices through which social difference is both invented and identities through social contests that are frequently violent and always gendered’ (Monoclinic 1995: 353).
The intertwined relationship between the nation and the production of gender difference is demonstrated here. In fact, Virginia Wolf claims cynically at the beginning of her novel Three guinea’s (1938): ass a woman, I want no country. As a woman, my country is the whole world. 0′ Embedded in her cynical tone is a condemnation of the British Empire, which manifests severe bias against women economically, politically and culturally, while demanding that they assume the responsibility of defending Britain against German attacks. In Wolf’s view, a nation is built and maintained by enslaving women, and the nation is an instrument to control women.
Her view can be a perspective from which to understand the relationship between nationhood and the female body, as represented in Lust/Caution women, in conspiracy with the discourse of nationhood or nationalism. Second, Else’s adaptation features a body narrative which is not present in Change’s is in fact a process of narrating Wang Chassis’s shifting objectivity, and is embedded with enormous codes of cultural subversion. However, the body constitutes a crucial process of visual narrative which drives the main narrative to a climax, to achieve the purpose of cultural subversion by showing the dissolution of the grand narrative and the formation of a fragmented, schizophrenic subject, making the adaptation go far beyond Change’s representation of her private experiences.
There are four sequences to the body narrative, showing how Wang Aziza changes instrumentalists of her body; the second is with Hi Mooching, in which although he suffers under Yes’s sadistic treatment, Wang Aziza is happy to get Hi to take as Wang Aziza, an agent working for the grand narrative. But the third indicates a Yes’s lover. The body sequences actually display her shifting identity or the process of identity fragmentation: from the subject of the grand narrative to Yes’s lover. Therefore, the body sequences play an important role in deconstructive politics. In other words, the body narrative embodies a shifted, schizophrenic subject and a epistemological traditions, human beings are considered agents of themselves and of he world, with the rationality of their mind enabling them to preside over things and over their own bodies.
But increasing social, cultural and institutional control makes human beings dwindle into subjects, subordinate to discourse and power (Faculty 1990), leading to Dada limit or law’ for individual existence and the repression of the individual (Delude & Guitar 1977: 266). On the other hand, in a capitalist society, the liberation of desire/bodies in the form of carnival breaks up the limit and ushers in a schizophrenic subject: a subject who is fragmented, decremented, disrupted and spaced, as the process functions to Don’t the expressive Oedipal unconscious, power, and Delude and Sagittarius criticism of desire and subject, account for Wang she is sutured into the nationalist discourse to perform the role of Mrs.. Maim (I. E. A patriotic spy).
However, with her desire set adrift, her unconscious becomes indifferent to her identity and language system, and the limit’s’ or division between the Self and the Other disappears, so that she becomes a nomadic subject. Thus, with the changes in her subjectivity, Wang Aziza has been displaced to be the lover f Hi Mooching. This narrative of the body discloses a process of identity fragmentation and the end of a coherent Enlightenment subject. In this case, the representation of Wang Chassis’s experiences is an utter condemnation of the patriarchal manipulation of women, in conspiracy with especially the instrumental discourse of nationalism.
Besides, the representation of the body is not Conclusion The above analysis of Nag Else’s adaptation of Lust/Caution Else’s own cinematic recreation through the employment of intellectuality, parody, re-representing history and added body narratives. Thus, this adaptation becomes Lee interrogates various forms of power, by deconstructing solid assumptions of nationalism, history and identity, as well as the hierarchy between Self and Other, men and women, disclosing them as human constructs, means for power domination such solidifies and hierarchy in the human language system, with the Double-coded;’ (Hutchison 2002: 970-102) nature of intellectuality, parody and re-representation, Lee attempts to highlight border-crossing in binary oppositions between the Self and the Other, and the indeterminacy of the notion of identity.