Women in Asian Cinema

Role and treatment of women in House of Flying Daggers (2004) and Mother (2009) 

This research essay will critically discuss the role and treatment of women in national cinema, namely Zhang Yimou’s, 2004, House of Flying Daggers and Bong Joon-ho’s, 2009, Mother. I will attempt to identify, define and research the characterisation and portrayal of women within contrasting settings and depictions, as well as provide general commentary on the patriarchy and feminism. With the aid of literary resources, I aim to showcase the influence and effectiveness of qualities and attributes within a character brief that consequently provokes discussions about authentic or fair representation. Throughout the essay, I will be highlighting problematic traits and unjust circumstances enforced upon Xiaomei in House of Flying Daggers, whilst pointing out the differences, persuading readers of the power that strong female protagonists hold, generated in the portrayal of Mother in Bong Joon-ho’s Mother, consequently, commenting on the male gaze and the oppression of women. 

 

The aim of this essay is to dismantle misogynistic ideologies and to encourage writers and film directors, to create deeper, broader, and a greater variety of roles for women in cinema, as well as expanding the range and diversity of women represented on-screen to accurately represent real-life and real people; to stray away from the over-done, obvious, cliché characterisation of females that often oppresses them, offends their power and demeans their capabilities.  

Firstly, focusing on House of Flying Daggers’ protagonist Xiaomei, although characterised as strong, capable, and loyal, is thrown right into a male-dominated setting with no granted permission to her own anatomy. Introduced in the brothel scene, she is immediately subject to harassment as Jin lunges at her, ripping her clothes. Barely 10 minutes into the film and it is already evident that there is going to be no justice served as authorities march in and victim-blame Xiaomei for being assaulted. Additionally, from the get-go, it is indisputable that Xiaomei’s appearance will assist in the development and direction of the plot, however only restricted through a male gaze that objectifies her, stripping her of her agency. Time and again Xiaomei is depicted as a damsel in distress, a helpless girl that needs the protection of men, despite all supporting characters haven seen her dagger-work and are aware of her (presumed) status and skill. This ongoing rinse and repeat agenda is regulated by a constant need to depict Xiaomei as an object of desire, and the male characters, namely Jin and Leo, as the embodiment of strength and masculinity, patronizes and belittles any sense of individualism or unique characteristics Xiaomei inhibits.

 

In fact, this slow-burn-type of plot progression, where the oppression imposed upon Xiaomei increases, eventually completely disconnects from the original grounds of motive - finding the new leader of the House of Flying Daggers, as by the end of the film there is no resolution to the original objective, which was to kill the new leader. Rather, it amounts to a disappointing love triangle affair which, too, results in the worst outcome for Xiaomei as she is killed, with no consequences for any of the male characters. Leo tries to force himself upon Xiaomei, but she’s the one that gets killed because she refused his advances. Jin requires saving, but Xiaomei is tricked to her death in the name of sacrifice and true love. 

 

Attempts to form commentary, contrary to this argument based on having given Xiaomei permission ‘despite’ her gender in the film adaptation House of Flying Daggers set in the Tang Dynasty, as compared to her much more oppressed characterization in the original poem by Li Yannian which was set in the Han Dynasty (Ya-Chen, 2005) is an unnoteworthy discourse. To ‘offer’ women “greater freedom” (Ya-Chen, 2005) to do things such as “socialize with men in public” (Ya-Chen, 2005) and not have “strict rules for women’s virginity and chastity” (Ya-Chen, 2005) is nothing to commend. Usually, adaptations or remakes come into existence to re-do plots with a contemporary audience in mind, however, Zhang Yimou’s House of Flying Daggers rather uses this as an excuse to unnecessarily sexualize and close in on appearance and a love-story based plot, further accentuating restrictions often enforced upon womens’ autonomy and the representation of females through a male perspective. 

 

This discussion is further supported by film critics such as McGuire’s (2019) dissection of Yimou’s filmmaking; that although Yimou is undoubtedly a masterful filmmaker, it is undeniable that his films position women as the “lower species” (McGuire, 2019). It is also noted that Yimou values actresses that access the ‘male gaze’ as means to advantage their character, however then only of benefit to the male audience as the “determining male gaze projects its fantasy onto the female figure that is styled accordingly” (McGuire, 2019) and “the gaze is built upon culturally defined notions of sexual difference” (McGuire, 2019). 

 

Overall, attempts to depict Xiaomei within the femme fatale troupe ends up rather being a ‘manic-pixie-dream girl’ persona: a woman who is skilled, beautiful, and confident, only to then rid her of her strength, position her purely on the basis of her sexuality and in opposition to men who use her to their advantage and then killing her off, results in a frustrating viewing of this film. It neither accurately represents real-life women or the extent of their capabilities, nor conveys a consistent plot from which a moral can be elicited. It instead almost seems to fulfil a twisted fantasy and desire to keep women oppressed, especially if they are strong.

Contrastingly, the characterization of the female protagonist in Bong Joon-ho’s Mother offers a stark variation in traits, attributes, and societal positioning; exhibiting the expansive variety and diverse representation women in film have to offer. Rather than the overdone sexual assault victim, girl-next-door, or damsel in distress character cage, Mother depicts the realities of living in poverty, of living with mental illness, and explores the nature of being a parent. Furthermore, this is done through the artistry of an unconventional actress, an old female, who captivates the audience and steals the stage with a ground-breaking performance. 

 

From the get-go, the protagonist referred to as solely ‘mother’ throughout the entire film is independent, self-reliant, and has clearly been in charge of the finances and parental care in the Yoon household. The lack of a male or father figure is never discussed, nor even hinted at, further emphasizing the capacity and capabilities of the mother. 

 

Mother is autonomous, making ends meet by selling herbal medication and practising acupuncture, whilst taking care of household chores and a mentally ill adult child, defying the norms of traditional households or an assumed family dynamic with the father as the breadwinner. It is also hinted at, in scenes, that mother herself deals with mental health issues as Yoon Do-Joon recalls her attempts to kill him and then herself, adding to the characteristic of mother as strong and resilient. Having survived what was a suicide attempt and having had continued from that point with a goal of taking care of her child, mother embodies the ultimate survivor as she is surviving for two (Ratner, 2010), emphasizing the true nature and virtue of motherhood, to not even acknowledge her own pain in order to be capable of helping her child. 

 

Furthermore, setting the mother up in the contemporary society where hegemonies are built on the de-sexualisation of elderly women, as well as culturally in a Korean context which excludes the single mother, and possibly a widow from any societally acceptable sexual activity (Kim, 2016), allows for the plot to be directed by her actions and behaviours, using all meagre advantages; the perceived innocuousness and near-invisibility of an elderly woman (Ratner, 2010), for the audience to base their judgment of her personality, rather than her looks or ability to seduce someone. Mother is portrayed as a human rather than as an excuse to portray an unrealistic or idealized woman, as far too often to be a woman in cinema, is to be sexualized or made to use sexuality for personal gains.

 

Although unfortunate that contemporary society devalues elderly women, as they no longer meet the idealized beauty standards; this paradoxically rids them of the constraints, policing, and sexualisation that had been enforced upon them previously, allowing for their lives to be led and for relationships to be made, on a basis other than their gender. 

 

In this manner, Bong Joon-ho’s, Mother, works to finally give centre stage to an age range barely depicted or spoken for in the media. Flipping the inevitable degradation within social hierarchies or the diminishing importance that often results as a woman ages, on its head, Bong Joon-ho uses this to accentuate the mother’s personality, psyche, and identity, allowing for a greater focus on her actions, representing a female life devoid of the male gaze or the incentive of assault and discrimination based on gender, thus better showcasing the effects of economic oppression, mental health issues, corruption and the extent of female power.

 

Mother takes traits that younger women are often ridiculed for, such as being ‘overly emotional’, ‘dramatic’ or ‘caring too much’, and applies it to a situation, utilizing stylistic devices such as plot twists and flashbacks, to rephrase and review those emotions and build a barely-seen-before character type: “a mother [that] will go to any length to save or avenge her child” (Ji-yoon An, 2019), where “the underlying foundation of this hypothesis lies in the notion of excessive maternal love, a trait that is taken to be present in all Korean mothers” (Ji-yoon An, 2019), a sort of love that transcends laws and morals.

Acting almost as a cautionary tale for audiences, to never underestimate a woman, to never mock her emotions, and to never forget the power she holds and isn’t afraid to use when it comes to what she cares about; a tale where “the mother starts off as a victim but gradually transforms into a darker character with the potential to do harm” (Ji-yoon An, 2019).

 

Such argument is also backed up by theorists who have studied the responses from audiences upon watching such films, and their interests for what Korean society has labelled ‘mother thriller’ films (Ji-yoon An, 2019) in which themes of oppressed women who are pushed to their limits in a patriarchal society, forgo their morals in order to save their child or to fight against an often fraudulent and unjust system, with violent and murderous measures. For example, Ji-Yoon An’s research explains how the male-dominated society has made women “quick, calculating and unethical”, in order to practice their “female agency” (2019). 

 

Congruent to this statement, Mother almost stands as a feminist text, where instead of portraying an elderly woman as frail or needing protection, it applies that very reasoning and makes Mother scary. No one is ever suspecting such a demographic of committing a horrendous murder, allowing mother to fly under the radar and never be suspected of the crime; highlighted in the final scene of the film where the mother’s “silhouette joins a crowd of other dancing women, [and] it becomes impossible to distinguish our protagonist, leaving viewers with the frightening speculation that a similarly dark story might exist behind all Korean mothers who dance to forget such memories” (Ji-yoon An, 2019), simultaneously deceiving everyone. It gives way to the psychotic nature that has emerged as a result of frustration, anger, and constant injustice, alerting audiences that women are to be feared and warning them of the effects of pushing women too far, endorsing fear into viewers and making them realize that the very importance they have stripped elderly women of, will be their downfall; a theory emphasized in “the final scene of Mother insinuating all Korean mothers to harbour not only an ability to transform into a subversive character but even a similarly harrowing and hidden past” (Ji-yoon An, 2019).

 

Especially within the context, in which this film was made, the moral of the story is emphasized far more when reached to audiences it had targeted. The role and importance of family and motherhood in Korean culture are far more central and of significance, “the fact that the first female to be imaged on a Korean banknote was a woman known as ‘the great Korean mother’ speaks of the national pride embedded in the image of Korean motherhood.” (Ji-yoon An, 2019). Consequently, the “role of the mother is romanticized to exemplify the familiar image of the ‘wise mother good wife’ with narratives often focusing on a mother’s sacrifice” (Ji-yoon An, 2019) and the majority of Korean family films depicting the role of a mother through rose-coloured lenses with a focus on the purity of motherhood which is challenged tremendously with Mother, which instead explores “the continuing issue of ‘extreme motherhood’ in today’s society” (Ji-yoon An, 2019).

 

Discussing the role and treatment of women in national cinema between Zhang Yimou’s, 2004, House of Flying Daggers and Bong Joon-ho’s, 2009, Mother and comparing depictions and positioning of protagonists within the two texts, the difference in agencies, scope, and ability is undeniably in the favour of mother, so much so that even film critics commented on the stark differences in the characterization of female characters as “thrillers of the past had worked to reinforce masculine solidarity, representatively between a male killer and a male chaser. Women, as the weaker sex, were usually collateral damage in the process of depicting masculine problems with governmental authority” (Ji-yoon An, 2019), and so this newly formed and popularised “image of strong female characters in mother thrillers can be argued as progress in the depiction of women in cinema, particularly within the genre of thrillers” (Ji-yoon An, 2019).

 

Although the setting of both films is dominated by male presence, whether that might be in an authoritative manner or just by the sheer unequal ratio of men to women, the characteristics of Xiaomi even though the feminist reading of the femme fatale, discusses the stories of this period as cautionary tales, designed to warn male readers of female sexuality’s catastrophic effects on patriarchy (Kourelou, 2010), obviously positioning the male audience as its target and alerting them of the consequences of giving women too much freedom. Meanwhile, Bong, a Korean male director, saw Mother as a chance to push an agenda: to destroy the myth of maternal instinct, exhibiting and recognizing that despite the association with care and comfort, motherhood itself is rarely peaceful, setting up a situation that begs mother to break boundaries (Kim, 2016) and illustrates a truer deposition of female hardship and the difficulties of motherhood. 

 

Mother is simply a character treated with more respect and attention. Written with a real person in mind, a conclusion that will engage with audiences as well as start a wider conversation about, and inclusive of demographics that have previously been shoved under the rug, the film works to psychologically question our society, its treatment of elderly women, as well as disabilities in the national and cultural context of Korea as well as the overall patriarchy. However, Xiaomei on the other hand is made to play into all the traps laid out for her by male authorities, the patriarchy, and general discrimination against her gender. Her personality is underdeveloped, written only to the extent of serving the male gaze and offering audiences an attractively enveloped cautionary tale about women’s sexuality and independence, encouraging the shutting down or disapproval of female independence and autonomy.

 

Overall, to conclude, it can be finalised that films, namely Zhang Yimou’s, 2004, House of Flying Daggers and Bong Joon-ho’s, 2009, Mother, showcase the role and treatment of women upon the basis of traits, personality and attributes made available to the character. Additionally, the positioning within a certain context or amongst other characters can highly impact the role, depiction, and treatment of said character, as located in the focus films where although both settings are heavily male-oriented and male-led with overt patriarchal influences, the characteristics, features, and potentials admitted to the female lead directs the moral; as Xiaomei is left helpless and presents the possible liberation of women if they practice their independence or sexuality, sitting as a cautionary tale for men and patriarchy, and mother is allowed to explore the power of maternal instinct as well as dismantle ideologies about age, agency, and capabilities.

References

Chen, Ya-Chen. (2005). There Is A Beauty in the Door(way) of Flying Daggers. Intellect. Asian Cinema, 15:2, pp 277-291. DOI: https://doi.org/10.1386/ac.16.2.277_1

Ji-yoon An. (2019). The Korean mother in contemporary thriller films: a Monster or just modern?, Journal of Japanese and Korean Cinema, 11:2, pp154-169, DOI: 10.1080/17564905.2019.1661655 

Kim, Ann Meejung. (2016). Alienating the Maternal Instinct in Bong Joon-ho’s Mother, International Journal of Literature and Arts. 4:5, pp 61-67. DOI: 10.11648/j.ijla.2016040

Kourelou O. (2010) ‘Put the Blame on…Mei’: Zhang Ziyi and the Politics of Global Stardom. In: Hanson H., O’Rawe C. (eds) The Femme Fatale: Images, Histories, Contexts. Palgrave Macmillan, London. https://doi.org/10.1057/9780230282018_9

McGuire, P. (2019). Unveiling Identities: A Cultural Study of the Portrayal of Leading Women in Zhang Yimou Films. The University of Southern Mississippi, Graduate School, pp. 1-9, pp. 48-57. https://aquila.usm.edu/dissertations/1736/

Ratner, Megan. (2010). Film Comment ‘Mother’. Film Society of Lincoln Center, 46:2, pp 71.

https://search.proquest.com/openview/773fd778da41aa2da0aba9d4bcd681b1/1?pq-origsite=gscholar&cbl=24820 

Filmography 

House of Flying Daggers (film). Directed by Zhang Yimou. Edko Films. 2004. 

Mother (film). Directed by Bong Joon-ho. CJ Entertainment. 2009.

Quarantine Notes

---- FOUND THIS IN MY DRAFTS FROM JULY OF 2020----
I have left it unedited 

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Melbourne is in lockdown for a second time now and it's literally the first day of the restrictions being in place. I'm already spiralling downwards. When it happened the first time around, I kept myself buy with uni work and I didn't realise how much relief I felt knowing that my floor-mates were basically going through the same thing, because if they could do it, so could I. But this time around, it the fucking holidays. How am I meant to keep myself busy and occupied when I can't even leave the enclosure that are the 4 walls of my tiny student accomodation room. I know that there are worse things happening to people and my privileged ass sounds so stupid right now, but I feel trapped. I'm scared that I'll fall into the lap of depression again and I'll be in pain.  can try and tel myself that I am in control of how I make myself feel but it's difficult to keep repeating that to myself when theres not much else to occupy my brain with. I have a lot of worries about the next uni semester too and it all just seems so much. I had a thought the other day that what if my entire lifespan is spent in this virus infected world where there are constant restrictions and limitations. The thing it, that that is a very real possibility. I'm afraid that I'll spend my life, not really have lived it, trapped. 

I'm exhausted and tired but not enough to fall asleep too, I lie awake for hours on end and keep waking up mid sleep too, there is just so much frustration and hopelessness. A part of me knows that maybe the intensity of my emotions right now can be blamed on getting my period soon, I know I get over neurotic around that time of the month, but GOD do I feel just gross. 

Right now, I'm literally just typing for the sake of having something to do, so maybe I'll write out a brief description of my dream last night. It was sort of like the Indian movie Highway, I was basically getting infatuated by someone who worked for my family at my aunty's home back in Jaipur. I had just arrived from somewhere and he had helped my unload my luggage from a bus, only for it to all somehow fall out of the several bags I was carrying (?), but anyways I was repacking everything that had fallen out when I realised I had forgotten to pick up one of my suitcases from the bus that was stored in one of those side  storage spots busses usually have, and so basically I asked that guy who helped me to unload if he can go get it for me, but just then the bus left. So he called up the bus driver for me and went all the way to where the bus had travelled to, to get my suitcase for me and even put up with the grumpy bus driver (basically this man was simping me lmao). That's about what I remember from it. I know at some point I saw my parents there too and the there was a car driving past where I was sat and repacking my bags when the car suddenly made a loud sound and one of its wheels bursted (?). Anyways, I tend to forget what I dream most of the times so maybe to keep myself occupied throughout the day, if I do dream, I'll write about it. 

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I woke up after a 3 hour sleep this morning, my body keeps waking itself up at such odd times. I'm always tired and I fall asleep so late, it doesn't make sense to me why I'd just wake up naturally after such a short amount of sleep. I do wish that when that happens though, I stay awake instead of falling back asleep because then I over compensate and over sleep. I eventually got out of bed around 1pm then.... I feel disgusting when I get up that late. There is no in between, but I guess today I didn't feel so guilty for sleeping in till that late because it is holidays right now, there is nothing much I can do since it's lockdown and I got my period. The things with periods is that it lets me feel sorry for myself. It lets me actually take a break without feeling guilty or without driving myself into depression, so even though I'm in physical pain, I can at least use that as an excuse to give myself a rest. 

I started watching the show Unbreakable Kimmy Schmidt, I needed something new to binge and I finished a whole season last night, but now that just means that I watched the good part of the show in one sitting. Just like any other show (except Brooklyn99) it just gets bad after season 1 and yeah it's already starting to disappoint 3 episodes into season 2.

I went out to pick up my takeaway a few hours ago and I'm surprised how many people are still out. It's like no one in this area wants to accept that there is a second lockdown, there are people everywhere and even the library was open?? By the time I got there though, it was going to close in about half an hour but I decided to just go in and look through a book or something just for a change in routine. I'm glad I went because honestly just being away from my room, even if it was only for 30 mins, kept me somewhat sane today. I just flipped through a book about Ancient Egypt. I wish the library was open on weekends, if it's still open next week, I'll definitely go in even if its just to read my own book but in a different space. 

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Just came back from a quick trip to Coles. It didn't really feel like lockdown today, it was so gloomy and drizzling the entire day and usually when it's like this I don't think about leaving my house anyways so I didn't have this constant urge to be social or leave to do something. It wasn't until I stepped out in the dark to get some ice cream from Coles when it all sort of hit me again. It's only been like 3 days of lockdown and I really don't know how I'm going to make it through 6 more weeks of this. I'm grateful that I have the internet to keep me busy and my friends to always chat to but not having anyone irl is going to turn me insane. 

On another note, I made a curry today using one of those instant Japanese curry blocks and it tasted like this curry I love, which I used to pay $13 for, so it was a nice surprise that I could just make it myself. I usually hate cooking, I don't get people who enjoy it, it takes so much time and the whole thing is so subjective if you think about it. I don't have patience as it is so that probably adds to my dislike of it. 

I'm glad I've been writing everyday, even if its just sort of briefly recapping my day. Roald Dhal used to write everyday, regardless of if he had something to write about or not. Rupi Kaur also said somewhere that the key to being a good writer is just to do it everyday. They're both amazing writers and I mean if it worked for them, there must be something to it. I know for me, I produce my best work when I'm in the depths of my depression but recently I've been thinking about how long it's been since I created a fictional piece. I used to be so good at them in high school, when they gave us a picture and asked us to write a story around it. I remember everyone used to complain about about the task but honestly that used to be my favourite thing ever. I want to get back into doing it but I'm sort of scared that I don't have the skill anymore and that I'll just end up disappointing myself (or maybe I'm just being lazy). 

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I am so sick and tired of seeing thin pretty girls I’m just so fucking over it. My eating disorder has been so triggered these past few days, it’s definitely the product of just sitting around in isolation without literally anything to do that has my head wrapped up in all sort of bullshit about myself. I know none of this shit really matters, my body weight, how I look and what size I wear are all such shallow things at the end of the day and when you look at it on the greater spectrum of things that should matter but it’s so difficult to be in love and live with yourself when the whole world seems to hate you for those exact reasons. I genuinely was getting better at accepting myself and I’m definitely in a better place than I was even last year but that’s why it’s so fucking frustrating to feel this about myself. Everywhere on Instagram are just thin girls, like how the fuck do I look at that and not think to myself that it’s my fault I don’t look like them and that if I looked like them then everyone and me would think I’m pretty because those girls are pretty. Like I’m not supposed to have a fat stomach and my such big thighs and if those other girls can be thin and elegant then why can’t I have that fuck I’m so tired.

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It's been a difficult few days. I'm not doing too well with my mental health but at the same time what I'm feeling is so far beyond my current understanding of my emotions. I feel empty and helpless but at the same time I know there is no point dwelling on it. I didn't write the last 2 days, whats on my mind I cannot say. I guess I feel a bit better today, I'm just trying to distract myself from thinking about it all day. I am tired but its okay. 

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Recently I've become more aware of my autonomy. I feel a lot more in control of my life and I feel like I'm developing a sense of self. I have always felt like a side character in my own story, as cheesy it is to put it like that, its been difficult for me to think of myself as my own person and make decisions for myself, I have always felt like I was 'someone's something', like my relations to others is what made me, rather than just having my own identity. Referring to Erik Erikson's stages of Psychosocial Development, I'm around the adolescents to young adulthood stage, which makes complete sense because in this period I'm having inner conflicts about Identity and Role Confusion, as well as Intimacy and Isolation. I can see how this chart fits in with my state of personal development and it's given me a peace of mind. 

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The lockdown situation is not getting any better, and honestly I can't expect it to with how people are dismissing all regulations and rules. I'm glad that they're becoming stricter as the days go by and the number of cases increases, because its about time that we hold people accountable. I know its hard, its hard for me too, I want to have friends over, I want to have something to do everyday, I don't just want to be stuck in my room, but we don't have any other options right now. I'm so ready for this all to be over. These days I wake up and I have no agenda, I have no routine, I have nothing to do. Its frustrating. I get up, and spend the majority of my day just watching documentaries or movies, where is this all going to get me? 

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I got tested for Covid yesterday, I've had some symptoms for a few days now so I thought I might have it. Getting it done was the most uncomfortable thing every. They stick it up your nose so high, worst feeling ever. I don't know, after I got home I just burst into tears. I felt so overwhelmed. There had been son much anxiety built up inside of me and I was tired and 

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I feel so empty today. I woke up feeling a bit off anyways but I tried my best to lift up my mood with a workout, but throughout the day it just kept getting worse. I ended up going for a 2 hour walk, I don't know what I expected to get out of it because I'm back home now and my legs and back hurt so much lol. I just want to cry so I feel better, but I can't get myself to. I miss home too, but I know if I was back, within 2 days I'd just want to be back. It's frustrating not feeling home anywhere. I hope I get out of this funk soon because I really don't want it to spiral out of hand. I need to remind myself that the only thing I have control over is my state of mind and how I think about things. I know this will pass, it won't last forever. 

Clothing: high fashion, fast fashion and mindful purchasing

Clothes have provided many cultures with “protection, modesty, and ornament” (Ross, 2008) and are still a significant part of our lives. It is important in symbolizing occupations, celebrations, and culture; and there are etiquettes and rules to dressing up. Clothes also represent status, roles, and personality.

Contemporary fashion is built around its consumers, who have been shaped by the drastic evolution of the fashion industry in the past 20 years. The late 1990s demystified and exposed exclusive designs and styles to the average person via the new craze over runways (Bhardwaj & Fairhurst, 2010).
‘Luxury fashion’ and ‘high fashion', is less appealing to the wallets of the majority, although, their expensive nature constitutes superior quality and long-lasting materials. However, high fashion is exclusively characterized as ‘superior art’ (Rocamora, 2015) and embodies novelty, constraining its access within the realms of elitism (Rocamora, 2015), rejecting its need by the average person. Although, the rise of social media and celebrity culture continues to fuel the desire of consumers to stay up to date with the latest styles and conform to celebrities (Park & Yang, 2010) meaning that demand has to be fulfilled in other ways. 

Fast fashion is designed to produce cheap clothes in luxury designs, in a fashion market that is unpredictable and highly impulsive—partly because of fast fashion itself (Chipambwa, 2018.). Despite limited time to make clothes and enormous competition, fast-fashion still aims to make a profit. These time and cost demands have resulted in the number of garments produced annually double since 2000, while the average consumer purchases 60 per cent more (Remy, Speelman & Swartz, 2016). Production and consumption have been difficult on the environment, with an estimate of 23 kilograms of greenhouse gases in making 1 kilogram of fabric (Remy, Speelman, & Swartz, 2016) as according to research on major chain stores, the clothing was manufactured to be worn fewer than 10 times (McNeill & Moore, 2015). 
 
Furthermore, the speed at which the industry pumps out these clothes results in greater reliability on artificial fibres. The increased rate in the production of cotton, usually aided by large amounts of water, pesticides, and fertilizers that current technologies are unable to sustainably dispose of. This has resulted in almost three-fifths of all clothing being incinerated or thrown away less than a year after they are made (Remy, Speelman, & Swartz, 2016). That is how we secured the cycle of purchasing imitations of high fashion, for a fraction of the price, made with low-quality, disposable material.

Keep the below things in mind when you purchase clothing that is sustainable, strong, and budget-friendly.  

 
(a)  Where does this item come from? 

Many popular retailers adopt designs seen on the runway within three to five weeks (Bhardwaj & Fairhurst, 2010). If you go onto the Shein website, for example, you’ll see a large selection of the trendiest items- replicas of the latest trends, for a fraction of what it cost to make the original item. To make clothing in such a short period of time, and on such a large scale, cannot be done without the exploitation of workers and of the environment. 

A lot of us also engage in, and contribute to this production of fast fashion unknowingly, as the marketing techniques adopted by corporations very effortlessly pull us in. Nasty Gal, for example, always has some sort of sale going on and advertises their cheap rates continuously. 

You really must sit back and think about where the item is coming from if it is that cheap and available that quickly after its popularity.
 
(b) How much wear will I get out of this item?

Although runway photos and celebrity outfits seem like the ‘it’ styles, it is important to visualize yourself in the item. Before purchasing it, ask yourself, how often will I wear this? and where will I wear it? Allow yourself to visualise the use you will get out of it. 

Sustainable and conscious purchasing does not have to mean spending hundreds on high or designer fashion. Remember, there are many alternatives such as thrifting and second-hand shopping for you to explore different styles and trends. 

Not only is it cheaper, better for the environment, but also gives you access to many more unique pieces that you’d otherwise not find in fast fashion shopping. 

Facebook Marketplace, Thread-Up and Depop are some of the many sites to visit!
 
(c) What is the quality of this item?

Natural fibres such as recycled cotton, organic hemp, and organic linen (Rauturier, 2019) will not only age well but also serve as an investment and minimize landfills caused by man-made fibres such as the cheaper polyester.

Cheaply made items will deteriorate after several washes, needing replacing- adding to landfill and increasing your expenditure. 

Not everyone has access to applying such filters when shopping, however. If you have trouble following these suggestions, you can look at practices such as minimalism, second-hand shopping, upcycling and capsule wardrobes as great alternatives in taking the step towards acquiring a valuable, long-lasting, eco, and wallet-friendly wardrobe.

References

Bhardwaj, V., & Fairhurst, A. (2010). Fast fashion: response to changes in the fashion industry. The International Review of Retail, Distribution and Consumer Research, 20(1), 165-169. https://www.tandfonline.com/doi/full/10.1080/09593960903498300

Chipambwa, W. (2018). Staying Competitive in the Fast-Fashion Era in a Developing Economy. International Journal of Costume and Fashion, 18(2), 3. https://www.researchgate.net/publication/330286651_Staying_Competitive_in_the_Fast-Fashion_Era_in_a_Developing_Economy

McNeill, L., & Moore, R. (2015). Sustainable fashion consumption and the fast fashion conundrum: fashionable consumers and attitudes to sustainability in clothing choice. International Journal of Consumer Studies, 39(3), 213. https://onlinelibrary.wiley.com/doi/epdf/10.1111/ijcs.12169?saml_referrer

Park, S. Y., & Yang, Y. (2010). The Effect of Celebrity Conformity on the Purchase Intention of Celebrity Sponsorship Brand: The Moderating Effects of Symbolic Consumption and Face-Saving. Journal of Global Fashion Marketing, 1(4), 215. https://www.tandfonline.com/doi/abs/10.1080/20932685.2010.10593073

Rauturier, S. (2019). What are the most sustainable fabrics. Good on You. https://goodonyou.eco/most-sustainable-fabrics/

Remy, N., Speelman, E., & Swartz, S. (2016).  Style that s sustainable: A new fast-fashion formula (pp.2-5). McKinsey & Company. https://docplayer.net/43670262-Style-that-s-sustainable-a-new-fast-fashion-formula.html

Rocamora. A. (2015). High Fashion and Pop Fashion: The Symbolic Production of Fashion in Le Monde and The Guardian. Fashion Theory, 5(2), 129-131. ttps://doi.org/10.2752/136270401779108626 

Ross. R. (2008). Introduction. Clothing: a global history (pp.6). Polity Press. https://books.google.com.au/books?id=iwprGRt3XkMC&lpg=PP6&ots=hFSu9JkN55&dq=Ross.%20R.%20(2008).%20Introduction.%20Clothing%3A%20a%20global%20history%20pp.6.%20Polity%20Press.&lr&pg=PP6#v=onepage&q&f=false 

Representation of the actual world: Stories We Tell

Sarah Polley’s Stories We Tell (2012) demonstrates the inevitability of subjectivity in film production via the equipment of voice, showcasing the unalterable influence a filmmaker’s bias has on the creation of their art, regardless of the employment of documentary techniques such as the inclusion of interviews, archival footage, and a cinéma vérité approach, validating Bill Nichols’ argument that the documentary genre presents a representation of the world, rather than a reproduction (Nicholas 2001). 
 
Firstly, the idea that the documentary presents a representation of the actual world stems simply from the fact that the actual world cannot be reproduced. Things as they happen in actuality, if not documented in real-time and without intent to persuade or inform, cannot be free of subjectivity in its retelling without the existence of unbiased contextual knowledge, making it impossible for a documentary to do any more than to represent. Representations in documentaries are therefore judged more by the nature of the pleasure it offers, the value of the insight or knowledge it provides, and the quality of the orientation or disposition, tone or perspective it instills (Nicholas 2001), as it becomes clear then that to create a documentary is not to provide the truth as it is, but to present the truth to fulfill the answer to a proposed question. 
 
Nichols reports, “in presenting the sights and sounds of reality, it enables reality to speak at the same time as it speaks about reality” (Nicholas 1988). This makes the documentary a narrative form, deploying specific modes of story-telling (Cowie, 2011) - standing for a particular view and allowing filmmakers to have a voice in order to convince, persuade or inform their audiences about issues - the voice then can be said to be the point of view of the creator, that becomes known to us and which we are expected to believe, therefore making the definition of “documentary”, relational or comparative. (Nicholas 2001) 
 
Accordingly, Stories We Tell, a documentary fuelled by Polley’s personal urge to find and explain her family’s story, emphasises the role of her voice and its significance to the perspective presented in the argument, as "the voice of documentary is most often the voice of oratory" (Nicholas 1988), indicating that it exists to convince us, the audience, of their, the filmmakers’ truth. 
 
Essentially what Stories We Tell, does is condense actions and events that happened over the span of decades into a 104-minute documentary, attempting to explain and illustrate a period of lifetime, which cannot be reproduced, on behalf of someone who cannot do so for themselves, in attempts for Polley to fulfill and satisfy her need for answers to be displayed- ventures of which can undeniably only come across as biased and subjective.  
 
However, Polley strategically employs the documentary technique of interviewing to provide her audience with an illusion of autonomy, as involving all sides of the story facilities in diverting the viewership from sensing pre-existing motives in storytelling. Interviews of those closest to Diane, Polley’s mother, the actions of whom the plot revolves around enables viewers to gain confidence in the learning of Diane’s character- Diane’s children, Polley’s siblings describe her as ‘fun and goofy’ and ‘full of life’, Harry, Polley’s real father, describes her as someone who ‘lit up the life of those around her’ and so on, although implying that what we, the audience, make of this information is unaffected by the filmmaker's bias or intent, doesn't actually mean any of it is true, there is no objectivity to their reminiscings. 
These descriptions of Diane are merely how she is remembered and interpreted through her actions, which has then allowed Polley to construct her as a carefree, easy going-person to build up to a narrative of Diane’s affair, to almost serve a sense of closure for herself, of how this all, of how she, came to be. Additionally, Polley’s personal voice, not only through directly asking specific questions to which she wants answers, but by also editing and compiling the footage to fit a personal agenda which fulfilled her interpretation of the events, is in itself biased, and unable to present a reproduction, only a representation. 
 
Secondly, Polley skilfully incorporates archival, home movie footage filmed on a Super 8 camera merged with re-enactments of past events with actors that have an uncanny resemblance to their real-life counterparts, too with a Super 8 camera, making it difficult to distinguish between the real footage and the reconstruction of scenes. 
Until the last quarter of the film, audiences aren't made explicitly aware of the acting taking place to fill in gaps, forging the character of Diane’s and those around her, through this visual confirmation. Use of ‘archival footage’ then becomes appealing to the audience’s emotions and assists in the production of desired disposition; putting the audience in the right mood or establishing a frame of mind favourable to a particular view (Grue 2006), techniques that are used to generate the impression of conclusiveness or proof. 
 
Although some shots in Stories We Tell, are pure archival footage, the majority of these ‘home movie footage’ shots are artificially manufactured to seem like evidence of the narrative Polley constructs of her mother from what she chooses to hear and act upon from her interviewees’ dialogue. The incorporation of archival footage has been manipulated in this documentary to further construct and present a representation of the actual world, as it seems to have been based on Polley’s interpretations and selective understanding of her mother and therefore her actions. 
 
Lastly, Stories We Tell adopts elements of cinéma vérité in its representation of the actual world by showcasing ‘the truth’. Cinéma vérité is said to capture the objectivity of everyday reality on film, to let the camera act as an innocent recording device, allowing subjects to speak for themselves (Buchanan, 2018). So, regardless of Polley’s previously discussed equipment of interviewing and recreation of archival footage through re-enactment, features which distinctively contradict what Cinéma vérité aims to do, Stories We Tell maintains the expression of the vérité technique via the implementation of naturalistic techniques that allow insight into the process of the documentary development allows a sense of authenticity for the audience to rely on; observational, documentary-style filmmaking that feels “real” (MasterClass 2019).
 
The prevalence of this feature comes into play as subtle glimpses which unveil and strip formal layers of film production to reveal deliberate inclusion of interviewees thinking out loud or asking for clarification on what to answer- Michael’s uncensored reaction to being asked to retell his entire story with Diane, shots of Sarah telling Michael to re-narrate on several occasions, third camera view into the inner working of the archival footage ‘reconstruction’- emitting objectivity, allowing the audience to directly connect with the subject and form their own opinions rather than having it interpreted for them (Leonard 2019). 
 
However, pertaining to this documentary in specific, the application of cinéma vérité techniques alongside interviews and pure and manipulated archival footage leaves only the impression of having formed those opinions, as to integrate interviews and archival footage, cancels out the novel intentions created by the cinéma vérité technique, and instead only exists to give off the impression of autonomy, and so the film tailors itself to fit the nature of Cinéma vérité that distinguishes said genre as being objective and authentic, and uses those features in alliance to Polley’s manipulation of impartiality, presenting only the idea of an unbiased film. This not only guarantees the audience reaction to be par with what Polley had intended, constructing the narrative of her mother’s character and actions to be widely understood and unquestionable, but also allows for direct engagement between filmmaker and subject (Axmaker 2015), making the documentary immersive and fulfilling. 
 
Overall, Polley’s equipment of documentary techniques such as the inclusion of interviews, archival footage and a cinéma vérité approach, validates Bill Nichols’ argument that the documentary genre presents a representation of the world, rather than a reproduction (Nicholas 2001), as Polley establishes her voice as a mediator in the retelling of Diane’s character, therefore her actions, leading to an unsuspected subjective interpretation of her mother’s doings, persuading her audience that regardless of her control and dominance on the film production, what the audience concludes from their viewing is the objective truth.

In the Mood for Love, analysis

Wong Kar Wai’s In the Mood for Love initiates its audiences to confront bitter, yet mundane sentiments of doomed and ill-fated romance through the equipment of narration via causality, and film form via mise-en-scène, predominantly lighting and camera work- framing and shots. The film allows viewers to experience the possibility of ‘what could have been’, a notion resulting from our humane tendency to dissolve ambiguity and rationalise what we cannot control. 

Focusing on the segment proceeding the ‘HONG KONG, 1966’ on-screen title, as Mrs. Chan returns to her old flat to visit the landlords, viewers are left disoriented and confused as to what happened off-screen between the initial 1962 ‘chronological-ity’ and the current 1966 scene. We are faced with an extreme gap in time where causality can no longer substitute for undocumented span, as the length of four years is far too great to assume, especially when contrasted with the precursory shots of the clock, which had enabled viewers to keep track of the continuity in some respect. Audiences are thus, forsaken to fill in the blanks purely through analysing ‘mise-en-scène-ic’ elements such as lighting- a cinematic element, Wong Kar Wai deliberately embeds into each scene, not only for intentional, but also subjective interpretation. 

Inspecting the predominant setting of the film, the rented flat, which was presented mainly through artificial, dim lighting, projected from yellow bulbs in ceiling lights or desk lamps, revealing the congested and suffocating nature of the societal expectations on the protagonists’ and thus, their inability to act upon what would've been deemed as scandalous or taboo affection, is now contrasted with the 1966 view of the flat; lit with natural lighting projecting through windows, hinting at the change the main characters have undergone over the undocumented years. Majority of the film and the protagonists’ relationship is set during late hours of the night, symbolic of danger, vulnerability and risk and the onset of this segment is the only time audiences are subject to a refreshing aura of the subtle, soft glow achieved through organic lighting implying acceptance- the impression of having had experienced a sense of freedom through character development facilitated by acknowledging that some things are perhaps just not meant to be and that moving on may be the only viable option.

Within the following few moments of that scene, audiences are met with the other half of the story- Mr. Chow, heading towards the flat. The scene progresses to him being framed within the window case, a frame-within-a-frame technique, as the camera is placed where Mrs. Chan had stood mere plot- second ago. With the window rails, closer to where the camera is situated- blurred- imitating the focus of Mrs. Chan’s eyes- of what she would’ve seen, or perhaps had longed to see when she stood there. The camera displays not only the physical distance that resides between the two leads now- across from but unable to see one another- but also the metaphorical distance in terms of the abandoned emotional connection. However, the concept of forsaken bond does not translate into a lost one, as the camera equips the rule- of- thirds and situates both characters in the rightmost third of the frame, regardless of plot timing. Both characters appear in the same physical position, signifying the indestructible bond that has brewed amongst their desire and longing for what causality forbade them to pursue. 

As the scene progresses, Mr. Chow is shown departing the flat only to decrease his pace as he approaches Mrs. Chan’s door. The close- up shot is angled to reveal his side profile- focused, melancholic and sorrowful. He doesn’t look straight ahead of him, rather his gaze is lowered, almost roleplaying a fantastical reencounter with Mrs. Chan, a concept that is substantial to the plot and their affair, with the door to her old flat, now impersonating her. The camera frames this tight- shot, in an intimate manner, almost ‘too-close-for-comfort’, replicating the familiarity of tension the protagonists had experienced throughout the film contained within narrow hallways and congested corridors, provoking lust but prompting caution, with the reappearing of lack of natural lighting, equating to flashbacks.

However, within mere seconds, the same frame is shot from a different position- now capturing Mr. Chow’s back, equipping a medium shot, allowing for him to get lost amongst the overwhelmingly vertical and warm-lit setting, alternative to the preceding, constricted frame that supplied detail, hinting at the following on-screen title that translates to “that era has passed”. The distance created by the contrasting camera positioning elicits a ‘fade away’ effect, notifying audiences that the following segment will be comparable in terms of disoriented feelings and inability to rely on causality, just as this segment had initially established. 

As In the Mood for Love comes to an end, viewers are signalled that the protagonists’ lives are no longer coexistent and will likely never be. Cause and effect in the characters’ lives forbade them to pursue one another and that's just their reality now, regardless of their longing. Mrs. Chan and Mr. Chow now exist unparalleled but adjacent to one another. They live through the reminiscent of unachievable, ir-replicable, yet indestructible memories. 

Wong Kar Wai’s film, not only depicts a tragic romance but teaches its target audience through that depiction, to work towards an ‘organically- lit’ character development of their own, by tugging at heartstrings and invoking personal memoirs, In the Mood for Love stands to communicate that accepting mundane realities of uncontrollable circumstances, which, although bitter and heart wrenching, has its mortal delights in the fact that they are inimitable humane experiences. 

By Aastha. 

But who am I?

A trip back to India after three years was what I had dreaded for a solid six month prior to even booking the flights. I was around 14 when we last visited, and even back then, for a strong opinionated but anxiety driven adolescent, being forced into situations that you associated with discomfort, and having to live with your extended family that you’d never been close, was not far from my description of hell on Earth.

It wasn’t hard to figure out that there is not only a huge difference in how you perceive the world from when you’re in your early teens, to how that differs from the composition of thoughts and feelings as an adult but also how people perceive you and frame their understanding of who you are and who you’ve become.

Three years is an extremely long time and you don’t always stay connected to family members that you didn’t grow up around or had connections to, only meeting them ever so often when you go back for an occasion, and then too only for a couple of weeks; and when people are quick to assume how foreign countries may have shaped and changed you, it doesn’t leave much room to fit in or adjust. And so, going back for me might as well have been comparable to living with a new exchange family every few years or so, because by the time your next visit rolls around, you’ve changed so much as a person and so much has happened in their lives too, that it’s almost as if you don’t even know them, except maybe the basics that were discussed on the itinerary.

Upon arriving back from India, to my family house in Perth, I had a few days before I had to leave for Melbourne again. I was overcome with this gust of sombre at the realisation that the trip had played out pretty well and I had actually managed to enjoy myself. I had survived to tell the tale despite predicting otherwise; however, concurrently I sensed this pit in my stomach raging at me to deal with the conflict that had been fuelling itself for the past few years. Sparking conflict, making me uneasy, itching away and prickling at the desire to almost abandon my flesh, the only constant I’ve ever had, and to allow myself to question my identity and to feel pain and confusion, but to tackle my emotions and separate them from reality, to find some sort of peace.

I’m sure those who’ve been in similar situations; growing up in different parts of the world, constantly on the move, new cities, new schools, meeting and trying to fit in with new people and adapting to new lifestyles, cultures, and norms, will agree that it all leaves you a bit dazed. It’s almost like you’ve been continuously floating, like your feet never really have had the chance to touch the ground or feel the soil because as soon as you’re able to descend, whoop! It’s time to take off again. Life becomes a blur, like your private montage with brief snippets of all the new places, homes, people, schools, cultures and experiences all collided together to form you.

This fast-paced and ever-changing lifestyle had set me up with a constant state of numb and then to suddenly feel so intensely, was overwhelming, to say the least. It didn’t take long to conclude that I belonged nowhere and I hadn’t formed a stable identity. The shift from places within India, to my move to South Africa, and then Australia counting Perth and Melbourne, left little description of ‘home’ for me. There had been no place I had a connection to or formed a bond with. No childhood friends or memories with people that I still knew to this day. No place to call my own, no place that could call me theirs’.

The more I let this settle in, the more distressing it got. I started to compare myself to others, my friends who got excited as the semester ended to go back ‘home’, be in their elements and see their friends and family who they’d known all their lives I started to envy people who’d also recently just moved Melbourne but would tell me about how things were back ‘home’ and how they missed the comfort of that. It made me jealous how other students in my tutes would introduce themselves, saying that they’d lived here all their lives and knew all about the place. It led me down a period where I had pondered and become so frustrated with my self- diagnosed identity of ‘lost and confused’ that it turned into anger and frustration.

A few weeks ago, my friend invited me and our other friend over for dinner. We ate and had a couple of drinks and we talked. I told them about what had been going on inside my head, revealing how I felt that the constant instability in my life had led me to lose my self- identity or ability to connect with a place or person or memory, stealing my chance to understand my own character. They let me explain this for a bit, me pouring out all that I felt had led me to this state and after a brief moment of silence, one of them simply said “But maybe that’s you, that’s who you are, that’s your identity.”

I let that sink it in for a second, it was the first time I had nothing to say back to or comment on, nothing to add to or argue against, nothing to say “it’s more complicated than that” to, because at that moment I realised that my character and identity had all along really just been a product of all the experiences that I initially thought were the reason to why I couldn’t form one.  

The fact that I have moved all my life and I have seen and experienced so much, the fact that I have met so many different types of people and been to so many cities and schools and been able to adapt and adjust to the continuous change, all that in itself, makes me who I am. I was so set on illustrating my experiences negatively because they differed from everyone else’s around me, that I didn’t even take a step back to realise that actually, all these adventures in my short life have contributed so heavily in making me who I am today. I don’t need to have my feet dug deep into the ground to grow, it’s not the only way to flourish or thrive.

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"But who am I?" was published in Esperanto Magazine, Global Edition! 

Here are some pics, as usual.