Author Archives: mmendoza

Flying Snow’s Red Vengeance

Yimou, Zhang. "Hero" (Beijing New Picture Film Co.: 2002) film clip, YouTube video, 4:33 posted by "gladtohelpafriend," November 16, 2009. https://www.youtube.com/watch?v=p9keMBIyPnA

Yimou, Zhang. “Hero” (Beijing New Picture Film Co.: 2002) film clip, YouTube video, 4:33 posted by “gladtohelpafriend,” November 16, 2009. https://www.youtube.com/watch?v=p9keMBIyPnA

This scene of conflict from the film Hero (2002) between Flying Snow and Moon takes place after Broken Sword and Flying Snow find out that they both betrayed each other. This causes Flying Snow to kill Broken Sword. Moon challenges Flying Snow days later in the forest  they are in but she is not as strong as Flying Snow, so she does not succeed in killing her. This story represents one of the different versions of how the “assasinations” of the assasins (Broken Sword and Flying Snow) take place. Analyzing the color of the film like author Robert Burgoyne discusses in “Color in the Epic Film: Alexander and Hero,” (2012) the color red and gold in this scene emphasizes the feelings of betryal & vengaence that only lead Flying Snow to feel dark and empty at the end of the scene and not as powerful as she seemed throughout the combat.[1]

The all red outfit that Flying Snow wore represented how much of a strong warrior she was in comparison to Moon because Moon wore an outfit that was more pink, which is a lighter hue. Along with the color of the outfit, both robes were flowy and long which symbolized the focus of the movement they created with their bodies when sword-fighting. The way that Flying Snow wore her long robe represented how strong and in control of her body she was. She was able to flip and spin without losing her balance like Moon did and show-off her strength in her movement. stay with the significance of the color red

Another red element in this scene was the blood that dripped onto the ground from the sword. As I mentioned in class this was the only time that the audience saw actual blood when someone was stabbed. Having the actual blood be shed in the scene was a way for the audience to see that death would only cause more pain for everyone. After killing Broken Sword Flying Snow did not feel a satisfied, her pain did not go away, niether did it go away when she killed Moon. In the other scenes the audience can tell that the warriors do not want to kill one another, so that fact that Flying Snow did kill people in this scene means that she became powerless through the act of killing. stay with the idea of blood and its significance

After this the gold leaves in the forest turn a deep red which symbolizes the betrayal of Broken Sword which caused Flying Snow to kill both Broken Sword and Moon. The gold color could also symbolize trust and honesty which was broken by Broken Sword and Flying Snow when they betrayed each other. The strong feelings of vengeance and anger that Flying Snow felt toward Broken Sword could be expressed through the deep color red in the scene. The leaves also turn red when Moon falls to the ground, dead, which represents the negative consequences that violence have on the person that uses it to get vengeance. contrast between or transition from gold to red?

[1]Robert Burgoyne, “Color in the Epic Film: Alexander and Hero,” in Rebeca, (n.p: 2012) 14-39

well organized work

 

Different Skin Tones, One Flawless “Ideal”

In this two-page skin beauty advertisement titled “Skin Genesis (L’Oréal)” in a 2010 U.S Vogue Magazine include two celebrities Eva Longoria and Kerry Washington. They have different skin tones and are photographed for an advertisement for a “complexion equalizer” that is able to provide you with the best looking skin. This advertisement is promoting the beauty of minority women, in this case Latinas and African-Americans; but most importantly the “attainable” beauty “ideal” of a young and flawless looking face which is also an ideal for women in China according to Qinwei (Vivi) Xie and Meng Zhang’s case study.[1]

[1] Xie, Qinwei (Vivi) and Meng Zhang. “White or Tan? A Cross-Cultural Analysis of Skin Beauty Advertisements between China and the United States,” in Asian Journal of Communications 23, no. 5 (Routledge: 2013) 546-547

Advertisement: Skin Genesis (L’Oréal). Vogue 200, no. 2 (February 1, 2010): 78-79

Advertisement: Skin Genesis (L’Oréal). Vogue 200, no. 2 (February 1, 2010): 78-79

In this first page of the advertisement the “natural” beauty of these two women consists of having a flawless and non-white skin tone. The viewer can see that they do not have any acne or anything other mark that could ruin the flawless looking skin. Authors of the case study, “White or Tan? A Cross-Cultural Analysis of Skin Beauty Advertisements between China and the United States,” Qinwei (Vivi) Xie and Meng Zhang conclude that advertisements represent the “ideal” appearance of the skin within a country.[1] Having a non-white skin tone was not always desirable in the U.S, but it was not desirable in China. In the 1920s Coco Chanel reproduced tan skin as a trend, so skin beauty advertisements marketed to women in the U.S till this day have women with non-white skin tones.[2] Although in this advertisement both women do not have tan skin, it could symbolize the fact that some Latina and African-American women do not need to be tan because their skin color is naturally non-white or pale. Lastly, the statement at the bottom suggests that having non-white and flawless looking skin is the perfect combination. This advertisement could possibly been one of the advertisements that was used in the case study because it is within the time frame the authors studied which is why I chose it.

the visual advertisement well delivers its message of ideal appearance with non-white skin. Do explain why the non-white as model for the potential Chinese consumers? Any social, gender, ethnic indications?

[1] Xie, Qinwei (Vivi) and Meng Zhang. “White or Tan?,” in Asian Journal of Communications 23, no. 5 (Routledge: 2013) 541

[2] Xie, Qinwei (Vivi) and Meng Zhang. “White or Tan?,” in Asian Journal of Communications 23, no. 5 (Routledge: 2013) 538-539.

Advertisement: Skin Genesis (L’Oréal). Vogue 200, no. 2 (February 1, 2010): 78-79

Advertisement: Skin Genesis (L’Oréal). Vogue 200, no. 2 (February 1, 2010): 78-79

On this second page of the the advertisement it does not only show the actual product in a spotlight, but the words and statements used assure young and flawless skin. The advertisement includes statistics in the shape of a graph to show that the process is trustworthy, but also simple. Also states things like “4 weeks to your ideal skin” and the slogan especially “because you’re worth it.” Not only does this advertisement advertise unrealistic expectations for a woman’s skin to look like naturally, but it also makes beauty equivalent to a woman’s worth. Having flawless skin is an easy way for society to value women because it is just based on appearances.

denotation of text and connotation of its message: how does the ad convey its message? let the questions of how the ad draw viewers’ attention and why lead your analysis rather than description. For instance, why minority/colored women as models and why the textual messages? 

Strong and United Chinese Girls in Uniform

 

Image number: 1656131, Bridgeman Education, color photograph 1973, Bridgeman Images

Image number: 1656131, Bridgeman Education, color photograph 1973, Bridgeman Images.

The photo in color titled In A School in China: Political Education: Children, With a Red Scarf, Rausing Fist in Front of the Portrait of Mao Zedong (1973) available through Bridgeman Images, the author photographed the moment Chinese girls in school uniform are raising their fists as one stands on stage in front of a poster of Mao Zedong. Because of the uniform these girls are wearing they are able to express themselves as leaders, speakers and at the same time followers of Mao Zedong’s social and political beliefs, but only through the acceptance of the uniform.

The power of the uniform similar to the Red Guard uniform in terms of connotations as explained by author Li Li in Uniformed Rebellion, Fabricated: A Study of Social History of Red Guards in Military Uniforms during the Chinese Cultural Revolution and Beyond, she says that when in uniform the people were able to represent their support for the revolution, Mao, and that they were all no different from one another in terms of social classes.[1] Although in this case the children that were too young to be a Red Guard so in school uniform they could show their support. The white short-sleeved shirt these girls are wearing carries that significance that male and female workers would wear in the mid 1900s. The white short-sleeved like the People’s Liberation Army weren’t designed for a specific gender which was the ideology during the time into the end of the Cultural Revolution.[2]  This meant that women could be seen through a different view, yet only when the uniform was a part of their identity. The white shirt was also paired with a red handkerchief that was worn around the neck, which was the color of the revolution.[3]The girls in the picture are also wearing flower patterned skirts, instead of pants, this represented the reminder that although they could be active in the movement it was limited.

These young Chinese girls are gathering in a school auditorium and not in a public space, they still feel powerful because the photograph shows the different levels of positions that could be attained even if they were wearing the same simple uniform. There was student on the stage and the rest as people from the audience. Lastly another important aspect of this photograph is the fists that are being raised with momentum because some of the girls’ hands are blurry in the photo, which is symbolizing the strength of their support.

Being in uniform was an opportunity for young girls like older women to participate and lead a movement. In the photograph the girl on stage is pictured standing aside from the microphone which represents needed someone to help their voice be heard, I think is significant to this idea that in uniform there was female voice and presence.

the denotation/connotation could also be paired in terms of 1) the uniform 2) mao’s portrait 3) on-stage and off-stage 3) raised fists/performance. then you can explain the signified meanings of each sign.

[1] Li, Li. “Uniformed Rebellion, Fabricated: A Study of Social History of Red Guards in Military Uniforms during the Chinese Cultural Revolution and Beyond,” in Fashion Theory 14, no. 4 (Berg: 2010) 441

[2] Li, Li. “Uniformed Rebellion, Fabricated: A Study of Social History of Red Guards in Military Uniforms during the Chinese Cultural Revolution and Beyond,” in Fashion Theory 14, no. 4 (Berg: 2010) 447

[3] Tina Mai Chen. “Proletarian White and Working Bodies in Mao’s China,” in Positions 11, no. 2 (Duke University Press: 2003) 382

Qipaos forgotten behind Western Femininity

PFH1187079 China: Three fashionable young women at a Shanghai International Settlement tennis match, c. 1935; (add.info.: International attention to Shanghai grew in the 19th century due to its economic and trade potential at the Yangtze River. During the First Opium War (1839-1842), British forces temporarily held the city. The war ended with the 1842 Treaty of Nanjing, opening Shanghai and other ports to international trade. In 1863, the British settlement, located to the south of Suzhou creek (Huangpu district), and the American settlement, to the north of Suzhou creek (Hongkou district), joined in order to form the International Settlement.); Pictures from History;  out of copyright

PFH1187079 China: Three fashionable young women at a Shanghai International Settlement tennis match, photograph (1935)  Pictures from History. Bridgeman Education. Accessed March 1, 2016. https://www.bridgemaneducation.com/en/asset/1187079/summary?context=%7B%22route%22%3A%22assets_search%22%2C%22routeParameters%22%3A%7B%22_format%22%3A%22html%22%2C%22_locale%22%3A%22en%22%2C%22filter_text%22%3A%22qipao%22%7D%7D

In the photograph China: Three fashionable young women at a Shanghai International Settlement tennis match (1935) by an author who is unknown but provided through Bridgeman images, the audience can see that the qipao because of the strong Western influence it was receiving in the early twentieth century, it was difficult for the qipao itself to represent femininity[1] instead a Western definition was needed as well.

need a thesis statement

As described by the description that accompanies the photograph these three women are attending a tennis match which included the presence of Americans and the British.[2] The environment that these Chinese women are in, is similar to the way the Western influences of the qipao dresses changed how it was designed and how it was worn. These Chinese women are wearing qipaos to this event when in the background of the photo there are people in white shorts and pants, which looks like Western clothing. They all have qipao’s made of cotton and are decorated with checkered, striped and flowered pattern designed much more differently during this time.[3] Their hairstyles and the sunglasses one of them is wearing are from Western influence. In this environment these Chinese women look Western, but they stand out because they are wearing qipaos.

Apart from the dresses and hairstyle, the photographer took a picture of the women seated and enjoying their liesure activity, without capturing the slit of a qipao dress. Again during this time women were wearing qipaos that weren’t as conservative as they were before. They shaped the body and had slits where was best seen on women of calendar posters and represented femininity.[4] By not choosing to picture these women with the slit of their dress was another way of ignoring the style that was providing Chinese women a bit more freedom physically after always wearing conservative clothing and Chinese femininity. The audience is seeing femininity by the way they are eating their food. Their index and middle finger are being used to carefully hold the plates, which is displaying their daintiness and their class.

From this photograph I see a different view of the Chinese woman wearing the qipao than that was being made in calendar posters also during this time. The Chinese women were wearing outfits with a lot of Western influence. These Chinese women were photographed so people could see their femininity through a Western perspective not Chinese regardless of the fact that they were wearing qipaos.

sounds that western perspective and influence are the potential thesis. If so, introduce it at the beginning of the post and allow it to guide your analysis and reader’s perception

[1] Ellen Johnston Laing. “Visual Evidence for the Evolution of ‘Politically Correct’ dress for Women in Early Twentieth Century Shangai,” Nan Nu-Men, Women and Gender in Early and Imperial China 5, no.1 Edited by Leiden Brill (April 2003): 108, 114

[2] Bridgeman Education. “China: Three fashionable young women at a Shanghai International Settlement tennis match.” (1935) Pictures from History. Bridgeman Education. Accessed March 1, 2016. https://www.bridgemaneducation.com/en/asset/1187079/summary?context=%7B%22route%22%3A%22assets_search%22%2C%22routeParameters%22%3A%7B%22_format%22%3A%22html%22%2C%22_locale%22%3A%22en%22%2C%22filter_text%22%3A%22qipao%22%7D%7D

[3] Ellen Johnston Laing. “Visual Evidence for the Evolution of ‘Politically Correct’ dress for Women in Early Twentieth Century Shangai,” Nan Nu-Men, Women and Gender in Early and Imperial China 5, no.1 Edited by Leiden Brill (April 2003): 104

[4] Ellen Johnston Laing. “Visual Evidence for the Evolution of ‘Politically Correct’ dress for Women in Early Twentieth Century Shangai,” Nan Nu-Men, Women and Gender in Early and Imperial China 5, no.1 Edited by Leiden Brill (April 2003): 108

Footbinding: A Beauty or A Beast?

“A ‘lily footed woman of China (Foot Binding).” (1949) black and white photograph. Bridgeman Images. Accessed February 14, 2016. https://www.bridgemaneducation.com/en/asset/1729502/summary?context=%7B%22route%22%3A%22assets_search%22%2C%22routeParameters%22%3A%7B%22_format%22%3A%22html%22%2C%22_locale%22%3A%22en%22%2C%22filter_text%22%3A%22%5C%22foot+binding%5C%22%22%7D%7D

This photograph that was taken by an unknown photographer in the year 1949 called A ‘lily footed woman of China (Foot Binding), found on the Bridgemen Education database suggests that despite the value of the appearance of bound feet in traditional Chinese culture to display beauty and civility[1], the exposure of the disfigured feet underneath represents only the consequences of this practice and disregards any of the meanings behind it.

thesis claim?

Around the start of the twentieth century, outsiders were photographing women’s bound feet without the cloth they bound their feet with and without their lotus shoes.[2] They were narrating the story of the practice for the Chinese by changing the depiction of bound feet in publications from focusing on the fashion of the lotus shoes paired with patterned attire, to the disfigured feet. An example of an illustration from the nineteenth century is from Ellen Johnston Liang’s article,“Visual Evidence for the Evolution of ‘Politically Correct’ dress for Women in Early Twentieth Century Shangai,” and this illustration shows the bound feet paired with clothing that was considered elegant at the time.[3] In comparison to this photograph that was taken in the mid-nineteenth century which includes both a bound foot and an unbound foot and the woman appears to be someone from the lower-class. The woman is wearing trousers and shirt made probably of cotton and put together with patches of material, no design or embroidery. In this same style are the lotus shoes, very simple. Also during this time footbinding was available to women of all social classes and you couldn’t distinguish who belonged to what social class, just by having their feet bound.[4] The photographer protrayed this by not including the face or upper body of the woman so the viewer couldn’t tell anything else about her social class, apart from the bound feet and some of the attire.

The background of this photograph is in a rural environment, and instead of the bounded foot being raised by a decorated foot rester that is usually used when women from a higher social class were photographed (as seen in a photograph on Professor Shu-Chin’s footbinding presentation) it is raised a bit by a piece of rock.[5] This symbolizes the women’s social status, but also how important it was for women’s feet to be bound, which at the time the photograph was taken, wasn’t.[6]This photograph is composed to draw your attention to the contrast being made by the photographer between the bound foot and the unbound foot. The bound foot looks small, perfect and pristine, but the unbound foot is dirty and disfigured.

could start analysis from this paragraph with the denotations and connotations of the background, the exposed bound foot, the faceless body, black/white photo ….

[1] Dorothy Ko, “The Body as Attire: The Shifting Meanings of Footbinding in Seventeenth-Century China,” Journal of Women’s History 8, no.4 (Winter 1997): 11

[2] Dorothy Ko, “Bondage in Time: Footbinding and Fashion Theory.” The Journal of Dress, Body and Culture 1. No. 1 (1997): 21

[3] Ellen Johnston Liang, “Visual Evidence for the Evolution of ‘Politically Correct’ dress for Women in Early Twentieth Century Shangai,” Nan Nu-Men, Women and Gender in Early and Imperial China 5, no.1 Edited by Leiden Brill (April 2003): 97

[4] Dorothy Ko, “Bondage in Time: Footbinding and Fashion Theory.” The Journal of Dress, Body and Culture 1. No. 1 (1997): 21

[5] Professor Shu Chin, “Footbinding Presentation” slide 9, January 31, 2016

[6] Dorothy Ko, “Bondage in Time: Footbinding and Fashion Theory.” The Journal of Dress, Body and Culture 1. No. 1 (1997): 21