Author Archives: Meg Fay

Enigmatic Bodies- Anna May Wong and the dragon

Annex - Wong, Anna May (Daughter of the Dragon)_02

The Daughter of the Dragon, 1931

 

 

 

 

46763fd352c153ee6e68661d8cb90ba2

Photograph of Anna May Wong, Otto Dyar 1932

 

 

 

 

The exhibit “China through the looking Glass” allows viewers to to visualize and understand Chinese fashion imagination through film and art. The “Enigmatic Body” is a particularly fascinating concept that leads us to many questions about Chinese symbolism, culture, and fashion. In the image, The Daughter of the Dragon (1931), Anna May Wong sits in the shadow of a Chinese dragon. In the image on the right, by Otto Dyar, Wong hides behind the body of the dragon. In both images, we see Wong pictured with the Chinese dragon in a black and white or discolored representation.

The decision to insert Anna May Wong as the focal point of each photo:

to centralize or to frame?

Anna May Wong, the first Chinese American movie star and first Asian American actress to gain international recognition. The artists of both images choose to insert a very beautiful, well known, talented film start to be the focal point in their image. This immediately causes the audience to question this decision and ask why they made this choice. As discussed in class, the dragon represents power and strength and the insertion of this beautiful talented woman in addition to the dragon, connotes her power and strength as a “dragon lady.”

In an image earlier in the exhibit, we see Wong pictured on a stage with a Western audience who’s eyes are fixed on her body. Hollywood portrays Asian women as “dragon ladies” through the image of Wong in her performance. The images above present this portrayal once again through the decision to insert a highly valued, beautiful Asian film star as the focal point of an image that includes the dragon.

make an effort to support the claim of “enigmatic bodies”

The dragon:

The dragon has been a symbol throughout Chinese history that holds significant meaning in Chinese culture. It represents power, excellence, strength, and heroism. We have seen the dragon appear in certain aspects of Chinese life, however, through the study of Enigmatic Bodies in particular, we are able to understand its significance in Chinese culture as it is paired with an attractive and famous Asian female. The dragon was included in each piece featured in the exhibit in order to make a statement of power and strength.

how does the symbol of dragon signify the concept of “enigmatic bodies?”

The artists’ choice of color:

The Enigmatic Bodies images foster an alluring and intriguing experience for the viewer. Mystery, concealment, and attraction are present in each of the images above. The image named “The Daughter and the Dragon,” is in black and white. The image by Dyar is also a colorless image. I think this choice and technique is very effective in the representation of the themes of mystery, concealment, and attraction because it adds a significant amount of secrecy to the images. In the image on the right, it looks as if Wong is peering out from behind the dragon skin. The image holds a lot of secrecy and concealment, yet also highlights her power and strength as a “dragon lady.” In the image on the left, Wong sits in front of the dragon’s shadow. We are able to see more of her body, however, we are still left with mysteriousness. It is interesting to wonder how these images would be different if they were in color. How would color change them and change their connotations, symbolisms, and meaning?

good organization. explain persuasively how the two images conceptualize “enigmatic bodies.”

 

Skin Whitener, sexualized body, and local demands

Cuidado-de-la-piel-de-barro-volcánico-el-cuerpo-que-blanquea-la-loción-corporal-hidratante-nutritiva

Chinese cosmetics have become increasingly prevalent in Chinese culture resulting in a highly competitive market. In her article, “In China’s Cosmetics Market Beauty is Pocket Deep,” Jill Petzinger explains that Western brands have struggled to dominate the market while local brands have succeeded in gaining tremendous popularity. Therefore, brands must cater to the fickle local tastes in the region in order to flourish. While adhering to local consumers, the advertisement above exposes a product that is exceedingly popular among Chinese females and highlights a prominent aspect of Chinese beauty: skin whitener. [focal point]

Local Brand: Upon viewing this image, we can immediately see the Chinese symbols written both on the advertisement and the whitening product itself. Pitzinger explains that products by L’Oreal, for example, reject animal testing procedures which is has had an impact on their struggle for business. Chinese consumers pay more attention to the brand, the product and its price, rather than animal testing ideals. Local brands such as Chinese Herborist, for example, uses traditional Chinese ingredients in its products which intentionally target Chinese consumers. Consumers can not only receive the benefits from the products, but can experience satisfaction of investing in a product that has cultural traditional meaning and value. Cindy Yang, Senior Director or Nielsen China says, “local brands are more flexible and faster in execution…they have leveraged traditional Asian ingredients well and made their products very convincing,” in comparison to Western brands. In addition, Eastern brands are more specialized in skin whitening, Pitzinger explains.

stay with the focal claim, skin whitener

Skin Whitener: There is significant attention and emphasis placed on skin health and color among Chinese women. The female portrayed in this advertisement has very light skin, not only on her face, but on her entire body. We can see her skin glistening and certain areas such as her arm are shined substantially to create a more dramatic effect. In contrast with Western customs and skincare preferences, Chinese women explore ways to increase skin whiteness. As discussed in class, this preference began years ago when Chinese people with darker skin were assumed peasants because darker tones were associated with work under the sun. Therefore, skin whiteness was associated with non-workers and an indicator of high class and elite status. Pitzinger writes about Chinese consumers: “they look for the best products to lighten the skin and provide luminosity.”

address further the question of why whitening the skin

Sexualization of the female body: The female in this image is portrayed in a very sexualized manner. She is wearing a white, loose, and revealing tank top that exposes much of her body. She attracts consumers by flashing her white, smooth, and illuminated skin. The advertiser made a concerted effort to create a cool, clean, and shiny image to cater to consumers’ ideals using blue and white colors. The focus is on the female’s skin and in order to achieve this, the advertiser cut off some of the female’s head, hiding much of her hair so as not to interfere and become a distraction. The sexualized female is appealing to other female consumers because her image adheres to the notion that they, too, could look like her by using the product.

female sexuality in terms of white skin? 

The Red Guards Uniform Meg Fay

 

Screen Shot 2016-03-16 at 7.56.44 PM

Images of the Cultural Revolution and of Mao

Artifact

Publisher: Long Bow Group

urls: http://www.morningsun.org/images/index.html# (www.morningsun.org/images/image.swf)

The Red Guard uniform became exceedingly popular at the start of the Proletarian Revolution in 1966. As a result of the Great Leap Forward of the 1950s, (the GLF and the CR are two different historical events) mass groups of Chinese people participated in “the backyard furnace” in order to catch up to the production in the Western world. With tension between parties, the Sino-Soviet split, and his anger for the differences in social classes, Mao was able to rise and mobilize students and young adults throughout China to serve as “Red Guards,” the agents of the revolution. The above image represents dominant factors in the Mao era: youth, uniformity, and political correctness. make a statement rather list of phrases

When looking at this image, the viewer is able to locate many of its important attributes and aspects that prove to be very symbolic to the time period. There are three main people in this photo, however, our eyes are drawn to the middle figure in the center who appears to be a young woman. All people are holding the red book, are wearing the grass-green Red Guard uniform or white uniform. The woman in the center is yelling passionately into a megaphone. The dominating color in this image is red.

In his article, “Uniform Rebellion, Fabricated Identity,” LiLi explains, “it is from the images of the Chinese girls wearing timeless PLA uniforms and ever-changing appearances that the artist attempts to discover the connections between history of Chinese revolutions and contemporary kitschy culture”(464). It is interesting to see that the artist chose to insert a young woman as the focal point in this image. She is passionately screaming into the megaphone and has a very determined and zealous look on her face. She appears to be young, full of energy, and passionate for her cause. This female depiction differs significantly to the post- Mao era art pieces, where females are portrayed as more “skeptical”(461). Although there were different variations of the uniform, the symbolism associated with it became a uniting factor in the young generation. The artist is emphasizing the importance of age at this time and the dominating role that the youth played. stay with the claim of “young woman as the focal point” and explain why so?

Mao promoted rebellion and militants. The men and women pictured are dressed in the Red Guard uniform and show determination and pride. By wearing this uniform, one showed his power, fashion, and political correctness. In addition, the artist displays both men and a woman wearing the uniform to show its gender neutrality (if this is the focal point, then introduce it as a topic sentence and explain with visual denotations). Men and women alike felt empowered and were able to unite and become a collective and active group; they invested their time in something bigger than themselves. The man on the bottom left is holding up the red book. Through this action, he is asserting his dedication and belief in Mao as a leader. The woman in the center is actively reading the book and preaching Mao’s ideology.

yes, color red and its connotations, need a topic sentence? The dominant color in this photo is red. The artist’s decision to emphasize this color works in unison to its importance at the time. The red color symbolizes… and devotion to Mao. In addition, we can see the traditional grass-green colored uniform. The other color featured is white, which represents political correctness and high social status.

Overall, the Red Guard Uniform represented uniformity and political correctness. It was also the uniform that the youth wore to assert their power and feel part of something bigger than themselves.

work on paragraph organization

 

ee071112001

1940s Modernized Qipao                  Found in Tang Wei’s “Lust, Caution” movie, photograph.

Over the last few centuries, the qipao, a one-piece Chinese dress, has experienced a substantial shift in place in the Chinese fashion world. From the loose-fitting, long, concealing qipao style worn by Manchu people during the Guangxu period, to the tight-fitted, sexualizing modern day portrayal, the qipao and its socio-political implications have changed immensely. The Guangxu qipao of the late nineteenth and early twentieth century and the qipao of the 1960s highlighted very different portrayals of the female body. The modern 1940s qipao, displayed in the image to the right, emphasizes the attractiveness of the sexualized form of the female body and the older qipao of the late nineteenth and early twentieth century accentuates the importance of embroidery and the beauty in concealment.

毓朗贝勒福晋

Qipao in the Guangxu Period (1875-1908) Titled: Lady Heseri, photograph, 1900.

When comparing the two images, the viewer notices the difference in color and pattern immediately. Although these two images were captured using the same medium, photography, they provide much different viewing experiences. The woman wearing qipao of the Guangxu period is pictured in black and white, so we are unable to see the true color of her dress. In addition, the photographer chose to take her picture in an area with limited to no natural light. We can see very intricate and delicate embroidery on her qipao. The green color of the woman’s qipao, represented in the above right photo, is emphasized due to the monotonous and basic tones that lie behind her. The photographer strategically placed this woman in a room with natural light. Her dress has minimal print in comparison to the woman on the left.

connotation?

The photographers may have made specific decisions when shooting each woman for a few reasons. Firstly, the woman pictured in color exists in a very different time period to the woman of the Guangxu era. The photographer taking the modernized picture has chosen to place this woman in a room that utilizes the sun’s natural light to accentuate her form and body outline. We can see the light shining on the front of her body detailing the folds in the dress and female figure. The woman in the Guangxu period is not emphasized through color. Color became more of an important factor in socio-political status as time progressed. We can the importance of embroidery in the earlier years of the qipao through the photo of the Guangxu period. The elegance in the more traditional dress lied in its concealment and detailed stitch work, rather than the modern tightfitted, simple form with minimal pattern/flowers and stitching.

Secondly, it is important to notice that both women are not looking at the camera, but are delivering very different messages. The female in the older photo holds a very straight and serious face. Perhaps if she were looking at the photographer and acknowledging him/her, it would undermine the importance and beauty in her concealing qipao. Because she does not look at the camera, she is more mysterious to the viewer and embodies the true essence of concealment, a highly attractive attribute of the time period. The woman in the 1940s picture plays a game with the viewer. She knows she is being seen, however, she is portrayed in a much more sexualized light. Her head is slightly turned towards the camera, however, she does not give us her full attention. She is teasing the viewer in a sexy and lustful way. She tilts her head in a way that almost looks down at the viewer. This decision adds another factor to the game she is playing; she is sexy in her tight-fitting, flattering qipao and therefore powerful and perhaps acting lustfully.

Lastly, it is essential that we acknowledge the difference in the way each woman is standing. The contrast in body language delivers meaningful messages to the viewer. The loose-fitting Manchu style qipao that covers the woman pictured in the older photo does not outline her body in any way. She stands up straight and allows her body to be concealed. She does not use her body in a sexual way, as the woman on the right does. This woman leans her body on an object that sits behind her and gently rests her hands behind her. She arranges her body this way to reveal her long, thin, and smooth arms and thin figure.

Both woman wear the qipao. However, they both wear very dissimilar styles that portray different ideas about what it means to be a woman and how females were portrayed in their given time periods.

two photographic female images, shot in different time and place, speak for how qipao reflects historical transformations. the historical transformation could be explored in terms of form, color, material, design denotations. the denotations then speak for different time, place, ethnic identity, and more connotations.

 

Footbinding in China- Meg Fay

"This text represents a few of the most pervasive motivations and ideas associated with footbinding in the nineteenth and twentieth century. It captures the essence of social structure in China at a time when male dominance and masculinity relied heavily on female footbinding. In addition, this photo symbolizes many valued aspects of footbound women at the time; concealment, mysteriousness, elegance, and luxury.   Upon seeing this photo, the viewer may question why the woman is sitting in a chair. Although her feet are not a dominant feature in this image, we are able to see they have been bound. Many women in the twentieth century were forced to work physically demanding jobs with crippled feet, but footbinding as fashion culture disabled many women from certain tasks completely. This female weakness and sense of helplessness gave males a chance to further assert their masculinity and power. The woman’s bound feet are not the prominently displayed in this text to represent the mysteriousness of footbinding culture. The photographer uses darkness around the bound feet strategically to proclaim this mysteriousness. In addition, intricately embroidered shoes cover her feet giving the woman the ability to conceal them. Women with bound feet were respected and their decision to participate in the fashion system displayed their civility and political obedience. Rather than placing her feet on the floor, the photographer chooses to keep them elevated to display their value and elegance. Finally, this woman dressed in silk, rests on a chaise, symbolizing luxury and high class."

“Woman with bound feet reclining on chaise lounge, China”

Date: between 1890 and 1923

Medium: 1 photographic print.

Found in the Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

URL: http://www.loc.gov/pictures/item/2001705601/

Between the seventeenth and twentieth century, foot binding played a critical role in Chinese female fashion culture. In her article, “A Bondage in Time: Footbinding and Fashion Theory,” . Dorothy Ko states, “the meanings of footbinding are historical and multiple; they are always constructed, hence always entangled with the politics of seeing”(5). The opinions and meanings developed about footbinding over the past four centuries have relied on the viewer and his or her personal perception. In her other article, “The Body as Attire,” Ko explains that footbinding was seen as a sign of civility and orderliness, served male interests, and was a beautiful embellishment of the body that lied in concealment.

This text represents a few of the most pervasive motivations and ideas associated with footbinding in the nineteenth and twentieth century. It captures the essence of social structure in China at a time when male dominance and masculinity relied heavily on female footbinding. This photo symbolizes many valued aspects of footbound women at the time; concealment, mysteriousness, elegance, and luxury.

Upon seeing this text, the viewer may question why the woman is sitting in a chair. Her feet are not featured dominantly in this image, however, this lack of emphasis signifies a key component of Chinese culture in the late nineteenth and early twentieth century. The photographer chooses to display the woman’s bound feet in a discrete manner in this text and one can interpret this decision as a method to represent the mysteriousness of footbinding culture. The photographer uses darkness around the bound feet strategically to proclaim this mysteriousness. In addition, intricately embroidered shoes cover her feet allowing the woman to conceal them.

how bout focus on the idea of perception and conduct a semiotic analysis: how is viewer’s perception of the bondfeet through this photographic display: denotations of the found feet, the clothing, the chair and the black/white photo ….

Women in the twentieth century were forced to work physically demanding jobs with crippled feet and foot binding and fashion culture disabled many from certain laborious tasks completely. Perhaps the photographer chose to portray this woman sitting, rather than standing, to symbolize her weaker state and subservience to men. This female weakness and sense of helplessness gave males a chance to further assert their masculinity and power. In her article, “The Body as Attire,” Dorothy Ko states, “the perceptions of women’s bound feet were integral to articulations of manhood and nationhood in late imperial China”(12).

Women with bound feet were respected and their decision to participate in the fashion system displayed their civility and political obedience. Rather than placing her feet on the floor, the photographer chooses to keep them elevated to display their value and elegance. Finally, this woman dressed in silk, rests on a chaise, symbolizing luxury and high class.

The photographer’s decision to place the woman on a chaise with bound feet in a dark and mysterious lighting further iterate male superiority and the mysterious nature of footbinding. In addition, the chaise and her silk clothing symbolize luxury and the upper class. Finally, his/her choice to cover the feet with delicately embroidered shoes further emphasizes the beauty of footbinding as a concealed practice.

Meg (: