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.

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.

Fan Bing Bing on the Red Carpet

“Fan Bing Bing in Dragon Robe by Lawrence Hsu” Fan Bing Bing photographed at the premiere of “Robin Hood” during the 2010 Cannes Film Festival. Accessed February 29, 2016. www.redcarpet-fashionawards.com/2010/05/13/2010-cannes-film-festival-“robin-hood”-premiere-–-fan-bingbing

fan-bingbing-robin-hood

While traditionally the qipao served the purpose of being the state mandated Chinese dress in the early 20th century, the gown has made a comeback in recent years. Despite having exited the realm of high fashion in the 1950s, the qipao now returns re-legitimized, having a very obvious presence on the fashion runway. In his article, Contemporary Re-Emergence of the Qipao: Political Nationalism, Cultural Production, and Popular Consumption of the Traditional Chinese Dress” author Matthew Chew accredits such a re-emergence largely to the influence of cultural elites in China- most specifically, prominent fashion designers.

The image I chose to analyze this week serves as evidence to Chew’s claim, as it pictures well known actress Fan Bing Bing on the red carpet, dressed in qipao. Fan Bing Bing’s outfit combines both traditional and modern style, showing not only the ever-present cultural importance of the qipao, but also transforming the qipao to fit modern standards of fashion.

To further prove this transformation of the qipao, we must observe the entire image at first glance. My eyes immediately noticed the low neckline, something that is obvious and critical to a traditional qipao piece. Next, I noticed the bold yellow color of her gown, and the many symbols it represented- the Dragon, the peonies, and the water. The embroidery is extremely fine and detailed, and the material resembles that of a traditional qipao. She wears dangly earrings and no other jewelry with her hair pulled back simply and elegantly. Fan Bing Bing is featured on the red carpet surrounded by tons of photgraphers- not even Chinese, mostly western- that seem to have all their eyes on her.

The neckline to me really symbolized the modern twist Bing Bing is putting on the look- Bing Bing is drifting away from the traditional neckline and replacing it with something a bit more cutting edge and revealing. The bareness of her shoulders and neck serve the purpose of drawing even more attention to her gown. The yellow color immediately made me think of the Emperor’s traditional robe. Yellow, the color of royalty, was only to be worn by the emperor. By wearing this color, Fan Bing Bing is making a bold statement and showcasing her high status on the red carpet. The dragon, which traditionally symbolizes adaptability further evidences the qipao’s ability to adapt to modern times. The traditional looking embroidery and material to me showed that she respected the original look, yet still looked to update it to modern times. The background further evidences not only her importance, but the importance of the qipao in the global sphere as many western photographers are looking at the qipao, photographing and admiring the piece very graciously.

further address the idea of qipao tradition and modern celebrity through the lens of global photographers

let the connotation follows immediately the denotation, in so doing, the organization may be clearer.

Katy Perry and Modern Orientalism

The style of qipao began during the Manchu rule and was originally a Manchu style. All qipaos have high collars that are tight fitting, there are slits that go up the leg which make it more convenient for women to move easily, qipaos are typically made with silk and satin, and have knot buttons that are used as clasps. In the 1930’s qipao signified a modern woman, and since then there has been a global re-emergence of the qipao. Many fashion designers began using the qipao as inspiration. Before long the qipao style became a major trend, and celebrities like Nicole Kidman, Jennifer Lopez, and Katy Perry were seen in qipao style dresses. The image of Katy Perry in qipao is an example of modern Orientalism.

if this the thesis, then clarify the meaning of “modern orientalism”

katy-perry-122766413

“VMA 2011: Red Carpet Fashion.” Katy Perry Photographed on the Red Carpet at the 2011 MTV Video Music Awards in Los Angeles. Accessed February 28, 2016. http://www.mtv.com/photos/vma-2011-red-carpet-fashion/1668988/6501727/photo/.

At first glance Katy Perry is dressed in a bright outfit, she is wearing a tight dress with somewhat revealing cutouts, and an umbrella to match the dress. There is nothing subtle about her choices in style. The dress has some qipao like qualities with the high, tight fitting neck, and the fabric that the dress appears to be made from, however she has clearly strayed from what a traditional qipao looks like. Orientalism can be explained as how the west perceives the East, and as Katy Perry demonstrates, it is typically an exaggerated perception. The flowers in her hair have an oriental look to them that match some of the embroidery on her dress, and the color of her hair. Perry takes it one step further by adding the umbrella as an accessory. The fact that she uses the umbrella as her chosen “accessory” instead of a purse or handbag to pose with on the red carpet is a clear sign of exaggeration. Flowers are used frequently in oriental designs, and Katy Perry makes that aspect quite apparent by matching the color of her hair to the flowers that decorate it. Qipaos traditionally have slits along the side to maximize movement, but Perry exaggerates this quality with the cutouts on the front and sides of her dress.

Many American celebrities have been seen in qipao, but never as exaggerated as the look Katy Perry chose to wear. One stereotype of the West is that they view the East as exotic, and Katy Perry defends this stereotype with her chosen style of qipao. Katy Perry has Orientalized the entire look by exaggerating common oriental traits.

strengthen the connotation part with denotation as supporting materials, asking the question of how Katy and her qipao construct “modern orientalism?”

Liu Juanhua, Game Series

Qipao 1 Qipao 2

Liu Jianhua, Game Series, ceramic series, 61 x 61 cm. (24 x 24 in.), 2000.

During our study of the qipao in class, I saw the dress as a symbol of strong, independent women. Chinese women were able to wear a dress much more revealing, beautiful, and modern compared to their fashion styles before. However, as we closed our study on the topic, it seemed that these dresses were also desired by males for women to wear. Lui Jianhua, in 2000, came out with a series of ceramic plates pictured above. These plates are intricate pieces of art, but relay a sexualized message of Chinese women.

clarify “sexualized message”

On the plate lays a women, without arms or legs. In both she is surrounded by numbers of color and intricate beauty. On both plates the women is wearing a qipao. One matches the flowers laying below her, while the other stands out due to its metallic gold. Both have the same border which, in different colors, making it obvious that they are apart of the same collection. These pieces have very similar attributes, but its their message that is much more important. Lui Jianhua is sexualizing all Chinese women in the qipao by the underlying message he presents in his collection.

The women laying on the plate serves as a metaphor of women being served to anyone. It suggests that the these women are worthless and are meant to be served to males. The fact that they are without arms and a head supports the claim that they are sexualized figures. Jianhua is suggesting that it doesn’t matter what these women’s faces looks like, just that they are a body to be used. He also makes them seem helpless by leaving them armless. The color surrounding them guides the eyes of an observer to the bodies. The two women are laying in very different positions. The one on the left is without a shoe and is very suggestive in what would come next. However the women to the right is much more sexualized. She is wearing a metallic, glowing, gold dress with her legs spread open. There is nothing surrounding her, like in the other photo, it is just this woman laying on the plate ready to be served to a man.

The artistry in this collection is done very well, even though the message Jianhua is portraying is not a desired one. The qipao is very realistic. He obviously shows it is a qipao styled dress and does beautiful and realistic work with the folds of their dresses. Although both dresses are qipao the differences are definitely noticeable. The floral qipao is much shorter and with the flowers surrounding her makes her appear much more innocent. The metallic gold qipao is longer and deems the woman to be sophisticated.

From these images, I learned that although the qipao is a beautiful dress and much different from the fashions before, it has been sexualized through art such as these. It makes me question what women are wearing this dress and if they felt differently after this series came out. Overall, Jianhua raised many issues in his art and had me question the really beauty behind the qipao.

suggestions: first clarify the sexualized message, then explain how the artwork sexualize the female body in terms of qipao form, body position, color, and plate with focus on one component at a time

The Qipao’s Comeback Story

The Chinese Qipao as the standard wear for chinese women in the early 17th century was a more conservative dress than the Qipao after it’s resurfacing in the early 1990’s. The original Qipao sported a wide, baggy, and loose fit which ended up covering most of the female body. It’s baggy feature cocealed the figure of the wearer regardless of size and age. The Qipao was worn by women for everyday occasions, however after 1644, the Qipao was no longer required to be worn by all. But, in the 300 years following, the Qipao was ultimately adopted and tailored to suit the entire population.

The modern Qipao was established in Shanghai in the early 1900’s. It’s fit was slim and tight with a higher leg cut then the original Qipao. Because of it’s slimmer fit, the modernized Qipao highlighted the figure of women. The modern Qipao was brought back to light mainly by politicians, entertainment figures, and fashion idols. the modern Qipao was a sign of high society. furthermore, because the modern Qipao accentuated the figure of the female body, it became a sign for sexuality and femininity, similar the the concealed Golden Lotus.

Qipao, 1930s, The Metropolitan Museum of Art

The photo on the left displays a Qipao from the 1930s. This Qipao is fashioned like the original Qipao was. As you can see the sleeves are long and baggy. The dress itself is also long and baggy going down to just above the ankle. The high neck piece conceals the women’s neck. The old-fashioned Qipao was a lot less constricting then previous garbs, which is the reasoning behind the baggy look. The embroidery on the Qipao is also well illustrated. It’s detailed in flowers and other greenery all over the Qipao. This well detailed embroidery is what catches the eye first.

2015 Qipao Dress

The photo below displays a modern Qipao dress. This Qipao is form fitting, highlighting the woman’s physique. The neck piece is not as high as the original and reveals the woman’s upper neck. The Qipao’s length has been cut to show the lower half of the woman’s thigh. A slit was also added on the sides of the dress showing only a slight part of her upper thigh. The sleeves are cut short, showing most of the woman’s arm. Although the design on the modern Qipao is beautiful, it is not the main focus of the dress like the embroidery of the traditional Qipao was. Overall, the modern Qipao is centered around the woman’s slender physique, bringing forward her sexuality.

nice, but explain what are the social, cultural, historical, or gender connotations that the transition of qipao style suggests?

Footbinding: Perceptions of Femininity

Screen Shot 2016-02-12 at 3.24.39 PM Photo: From Peabody & Essex Museum in Salem, MA [from presentation]

Courtney Gallagher

ASNS 2076: Fashion and Gender in China

Prof Shu-chin Tsui

2/15/16

In this photograph, the photographer presents four young, ordinary women performing needle work, with bound feet visible beneath the work bench. During the Song Dynasty in China, women with bound feet were part of a socially and culturally defined gender norm. The bound foot was a sign of femininity, sexuality, attractiveness, civility, and higher social status. The women in this picture do not exhibit any of the socially and culturally defined gender norms, yet interestingly their feet are bound.

make an argument or raise a thesis seeking question immediately.

From a strictly visual point of view, the women shown in the photograph are clearly of the working, or lower, class. They have their hair pulled up, wearing clothes of basic material, without embellishment. These women are in a group, appearing in exactly the same attire, doing the exact same work, and apparently lack any type of individuality. Yet, despite this lower working class appearance, their feet are bound, which is emblematic of non-working, courtesan women. The typical courtesan would dress in the finest silk, wear embroidered attire, and have very small, beautiful shoes. Small, embroidered shoes and tiny feet created an aesthetic of subdued feminine elegance. The photographed women are not wearing any of the typical attire associated with the courtesan. Their shoes are plain and black, and their clothing is made of, what seems to be, a inexpensive material. Other than the bound feet, all other indications suggest strongly that these women are of the lower working class.

this paragraph could be taken away or incorporate with the first

It becomes clear that these women bound their feet because it has cultural significance; in particular, relating to defined a gender norm. Smaller feet meant that the women were more civil, more attractive, more delicate and fragile—which defined feminine beauty. This “ideal image” of beauty [the ideal size of the foot] was a direct sign of the “ideal status.” Smaller the feet also meant a woman was more likely to marry into a higher status. Thus, the women in this photograph show the ideal impulse of women to overcome their bodies in an attempt to overcome status. It is a mother’s hope, especially when their child is of a lower class, that their bound feet would help them marry someone of a higher class. Although footbinding was originally exclusive to the upper class, it trickled down to the lower classes because of its correlation with high social status. However, it was especially difficult for working women to endure footbinding because it made their jobs more difficult, as the foot restriction inhibited their ability to perform manual labor. The fact that lower-class Chinese women would bind their feet, despite the difficulty it might cause while doing manual labor, shows the amount of socio-cultural significance placed on having a bound foot.

Although this photograph, at first glance, speaks to these women’s ordinary, working class social status, they have bound feet because of its ability to shape how others saw them. The bound foot was a way to show a women’s femininity by a very obvious physical indicator. Dorothy Ko makes the claim in her article, “The Body as Attire,” that the bound foot was a “mark of womanhood . . . it was the most natural enactment of a woman’s gendered identity.”[1] Thus, this picture confirms Ko’s thesis that the perception of the body in China during this time was not seen as an isolated entity—it was seen as the “social body”—linking, cosmologically, “…human growth and development with creative processes…”[2] Viewing the physical body as the “social body,” especially the bodily appearance [clothing, shoes, foot size] was directly linked to society’s social, moral, and ethnic norms. This is why these lower-class women in the photograph are trying, through footbinding, to change others perception of them and comport themselves with the social, moral, and ethnic norms of the time.

paragraph organization with the structure of denotation-connotation?: ordinary women but bound feet; group photo and same dress ….

[1] Dorothy Ko. “The Body as Attire: the Shifting Meaning of Foot binding in Seventeenth-Century China,” Journal of Women’s History 8-4 (Winter 1997): 21.

[2] Ko 18.

The Concealed Truth

The most exotic aspects of a foreign culture captivate observers, especially those that are intended for the private sphere; foot binding exemplifies this truth. It is a tradition that endured for centuries and whose practitioners could not precisely define how or where it began, which added to the foreigner’s confusion.

As an analysis of the image above will demonstrate, fully understanding the Chinese tradition of foot binding demands thorough knowledge of Chinese history and philosophy.

the thesis claim is too general to tackle

The central organizing principle of Chinese civilization is the Confucian philosophical school, which places harmony and order as the highest goal of civilization. His teachings came to the forefront during the Warring States Period during which time dukes violently contested for supremacy as Zhou authority foundered. He argued for renewed faith in authority by respecting one’s allotted station in life: ministerial and aristocratic loyalty to the throne. The same extended to a father’s authority over his children and the husband’s authority over his wife. To defy what Confucius considered to be the natural and proper order of affairs was tantamount to barbarism. “True” Chinese in his eyes not only exemplified civility and order in their personal affairs, but extended it to the public sphere as well.

It is within this intellectual context that foot binding arose. In the image above, the woman’s foot delicately sits in his hand. It is significant to note that her foot is just a bit smaller than his hand. To achieve feet that small required deliberate commitment to the painful practice: even when crying out in agony as her feet grew, she must have never loosened her bandages. By extension, the smallness of her feet implied that she came from a family who prized Confucian civility, discipline and order because she is their product. This mattered because marriage bound together lineages as well as individuals, mixing their fortunes with each other. Marrying a present of equal or greater standing could enhance a lineage’s prestige, but it could also be a liability for the higher ranking lineage in the marriage. Therefore, the sheer smallness of her feet represents her commitment to achieve mastery over the natural form of the human body, to impose civility: it was a guarantor of their commitment to the Confucian ideals.

In addition to smallness, proper drapery was an essential component of the Confucian conceptualization of civility. Through simple comparison, the observer of the image above can see that the man’s clothing is far less ornate than the woman’s clothing. He wears his hair in the Manchu style and dons silk robes, but that is the extent of his outfit. The woman’s clothing is replete with many rich shades of red. Red is significant because it is used for festive, celebratory occasions in China and is associated with happiness. These rich shades of red cascade down her body in the form of exquisite silk robes and leggings. They terminate in red, silk stockings that conceal the bound foot. The stockings consist of multiple images, which could signify things such as good fortune or fertility. From the man’s gaze, we learn that it is the patterns on the stockings that hold his attention rather than the form of the bound foot itself. It would have likely been drenched in perfumes, which would have made it pleasant for the man to hold the bound foot in his hand while studying the stocking.

In conclusion, understanding the appeal of foot binding depends on understanding Confucian thought. His teachings emerged during the Warring States Period where multiple aristocrats fought for control over the dying Zhou state. Confucius believed that ending this conflict hinged on people’s accepting their natural station in life: nobles were subservient to their emperor, just as children were to their parents and husbands to their wives. Foot binding came to epitomize this commitment to order because it required incredible discipline to overcome the pain of the process. Therefore, it became a proxy for her moral capacity. Further accentuating this was her commitment to proper drapery. What aroused and enticed the man was not the mangled foot itself, but its enshrining Confucian civility and its use as a medium for expressing virtues such as fertility or good fortune through pleasant smelling silk that a man could observe from the palm of his hand as demonstrated in the image above.

see what happens if search for social-cultural or gendered connotations through the denotations of the concealed bound feet, the embodied shoes, the color red, veiled face, the relation/poison between the bride and groom

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

Footbinding in China- Meg Fay

“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 (:

Footbinding: A Cultural Signifier

Moving forward with the topic of foot binding, we shift our focus to semiotics to dig deeper into the subject. Through a semiotic analysis, we can use our analytical skills to further understand foot binding on another level.

start from here: This image is from the 2011 movie, Snow Flower and The Secret Fan, written by Lisa See. The movie was set in nineteenth century China and it focused on how women are victims of problems like foot binding. According to See, she wants her fans “to imagine how a few such women might have found voices of their own within, rather than in opposition to, the Confucian social order, and how they found ways to self-fulfillment without flouting their culture’s fundamental values.” (Lisa See, introductory note, Snow Flower and the Secret Fan. New York: Random House (2005) p 18) .

This image accurately demonstrates the control that men have over women. nice statement

Screen Shot 2016-02-15 at 10.34.36 AM

In this image clip from the film, there is a man and a woman. The woman’s face is hidden in intricate headwear. Her foot, however, is the focal point of the image and is in the man’s hand. The foot is also is dramatically adorned, further cementing it’s importance. The environment of this image is primarily red. Both the man and the woman are wearing traditional outfits. All of this is taking place in a bedroom.

The atmosphere of this photo is intimate and sexual between the man and the woman. When looking at this image, the female’s face is hidden, demonstrating its unimportance.The identity is insignificant compared to the success of the individual’s foot binding practice. In addition, the man gazing at the foot shows the cultural norm of the feet being sexualized.

organize the analysis in a structure of denotation-connotation, complete one pair before moving to another one

This image represents control that men have over women on a greater scale. Seeing women as objects, and focusing on the ‘beauty’ of their body parts emphasizes this control. Women are mutilating their body to become what men want.

This image shows the control that men had over women in nineteenth century China. The ‘attractive’ women is one who has a small, delicate feet, that is only achieved through the torture and mutilation of oneself. Foot binding is a cultural expectation that women feel obligated to oblige by in order to have a future with a man.

We can connect foot binding to traditions such as the wearing of corsets, which were worn in order to maintain and show off an hour glass figure for men. Or the idea of the lighter the skin the more wealthy it proved someone to be. If you were tanner, it meant you were working in the fields.

Each of these traditions are somehow implemented into society’s expectations and are difficult to remove.

-Kelsey Mullaney