Chinese movie street angle 1937

Chinese movie street angle 1937

Street Angel is a movie that was produced in 1937. The story was set in the streets of Shanghai, and it is about the lives of downtrodden outcasts such as the prostitute. Street angle also eludes some of the national struggles that china faced. The movie tends to take a leftish point of view, and it focuses on the suffering of women and the poor. Use of cinematic technique such as superimpositions to convey messages that condemns faults in society has risen level of people understanding of the movie.

Street Angel is a film that focuses on social criticism and national issues. The film has used some representation. Culture and literary innovation have borrowed some female images and themes concerning gender. The use of description has increased discursive attention. The importance of women in building national discourse is derived primarily from gender position. Women bore codes and signs used in representing more significant sectional issues. Women expose the state of nation suffering as she is paced in-state exhibition. Women not only provide physical evidence of social oppression but also confirm the legitimacy of male intellectuals rather than themselves. The voice spoken by women comes from male scholars. Since men start women’s emancipation, they took the leading position, and their images are used as progenitors of cultural awakening. Men reinforce the issues of unequal gender relations. (Berry& Shujuan,2019).

At the very beginning of the film, the audience sees a montage of varying images blasting from the city to overlay various monuments at many different angles giving impressions of distractions and suffering. After that, a picture of a nice is shown, western-looking established overlaid with the falling money almost running shot to the lion seen commonly in front of banks taken at various angles almost scaring the audience to maintain silence as they try to gain wealth. The lions outside the building are a direct reference to the Hong Kong and Shanghai Bank, the most prominent western bank in Shanghai whose trademark was the British lion.

 Shanghai skyscraper brings the audience into the focus of shanghai slums. The film starts with various shots of parades taking place in the streets as the onlookers stared at the participants with admirations. The release of a comical fluid, therefore, introduces the main character of the movie into the air as he tries to blow the trumpet; after that, we see the film turning into the palanquin as his friend MASTER WANG steps on her foot. As he peeps through a curtain, he saw palanquin occupant: a lady whose eyes were crossed, his eyes become passed as a result.  This is show criticism of wealth and high society. This is seen from comedy that members of tire society cannot see it.

The use of songs conveys messages to the director and writers in the “peaceful lane” audience watches XAO CHEN and his group, including the newspaper seller WANG and AH BING the street vendor.  The barber satirical struggles to write the word “hardship”  which WANG  remedies it by finding a newspaper that addresses struggles in china, an apparent allusion of the leftish war with japan. The director also used songs to pass information as each time XAO HONG sings, and it seems she applies the situation with the current crisis in china today. The four-season songs have lines such as  “suddenly a heartless blow splits the [mandarin] ducks in two” and “the maiden has been blown south of the river / the scenery’s lovely all over the land / but how can it compare to the gauzy green sorghum at home?” this hits at the Japanese attack in the north where sorghum usually grow.

By showing women suffering during the national revolution, males practiced social reforms without experiencing their victimization. (We see HONG uncle want to sell her to any man who offers good money. YUN has also run to shanghai to avoid Japanese invaders). Women carried a double burden, representing women suffering and searching for an identity.

The concept of film making becomes subject to filmmakers, transitions that call for explanations had occurred. The Filmmaker also puts weight on factors concerning gender and relations to the national idea in the film. Attacks from Japanese has caused a lot of suffering to the Chinese. By acting dramas for misfortunes of poor and corruption of the rich. The writer selects class antagonism. Yuan muzhi did not produce an actual representation of social reality. He was able to convert reality to visual representation through writing. (Thwaites,2011)

In shanghai, the cameraman seized the picture XIAO YUN and conferred in her high identity “the other of the oppressed other.” Prostitute provides an icon of Witten and visual media framed within the city. The producer offers a prostituted body as the center of humiliation and oppressive society. The films capture and show her body to expose social indignity. In the street angle, we see how prostitutes are subjected to vices and virtues or between mind and body, and prostitutes are sometimes shameful. The linguistic transition of prostitutes occurs because the Filmmaker alternates between the use of prostitutes’ organization as a historical critique and as another way to comment on female integrity, which is essential to traditional values. Thus prostitutes are one of the indicators of visual images cinematic and social problems.

The female body serves as a metaphor and a sign of social indicator urban setting. Yuan Muzhi, for example, uses temporal terms to position women to be consistently a lowly prostitute. In the opening sequence introduces Shanghai with a spark of shining neon lights. In a very close view, the camera capture women’s legs, and a pair of men legs are also seen on the screen, and they walk together off-screen. The suggested end is clear, but the presence is unexpected. In a superimposition, the pair of feet in the screen that walks away indicates that the economy turns from “doing business” to going back home is unmistakable.

To make prostitute sympathetic, the film suggests why they are selling their bodies. They are selling their body because of economic pressure, and it is very high beyond their ability. The curiosity about money is also revealed by superimposition in the same frame we see the mise-sex-scene woman with the sleeping child in her arms. The woman struggles and cares for the child.

The prostitute body represents an image of a regular cinema. It also represents a multifaceted kind of female character that serves very many desires and signifies sex as a commodity and means of earning. As viewed on-screen, the prostitute’s body becomes an item of men’s possession for pleasure and enjoyment. As a code of social problems, prostitutes call for reforms and progressive representations. XIAOYUN the main character of bringing people into reality provides the main handle of criticism in the film with her death

This film alienates and teaches the younger generation. The narration can inspire younger minds to comprehend recent history eagerly. The film utilizes satire and tragedy as well with various sound and camera techniques to convey a piece of essential information to the audience. The film is entertaining indeed as it combines multiple elements such as comedy, love friendship, sadness, and gangster.

References

Berry, C., & Shujuan, Z. (2019). Film and fashion in Shanghai: What (not) to wear during the cultural revolution. Journal of Chinese Cinemas, 13(1), 1-25.

Thwaites, D. (2011). Zunun Kadir’s Ambiguity: The dilemma of a Uyghur writer under Chinese rule.