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Helman A.

Kwartalnik Filmowy

2015

issue 89-90 Redefinicje klasyki

Autorka analizuje „Wiosnę w małym miasteczku” (2002) Tiana Zhuangzhuanga jako reinterpretację wersji zrealizowanej przez Fei Mu w 1948 r. Ten ostatni film, odrzucony przez władze, pozostawał przez kilka dekad w zapomnieniu. W 2002 r. został ogłoszony najwybitniejszym chińskim filmem stulecia. Autorka upatruje różnic miedzy filmami w fakcie, że Fei Mu realizował film naonczas współczesny, podczas gdy Tian zrobił film historyczny, dążąc do zachowania efektu dystansu. Obaj twórcy posługiwali się strategią „okrężnej drogi” oraz nawiązywali do podobnych założeń formalnych, integrując estetykę starego malarstwa chińskiego z pracą kamery.

The author analyses the “Springtime in a Small Town” (2002) by Tian Zhuangzhuang as a reinterpretation of a version made by Fei Mu (“Spring in a Small Town”) in 1948. This latter film which was rejected by the authorities, remained hidden and forgotten for decades. In 2002 it was declared to be the best Chinese film of the century. The author explains the differences between the films by the fact that Fei Mu made a film that was contemporary to himself, while Tian made a historical film, aiming to maintain the effect of distance. Both artists used the “detour” strategy and relied on similar formal solutions, integrating the aesthetics of old Chinese painting with camera work.

Tajemnice i pułapki chińskiego domu

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Helman A.

Kwartalnik Filmowy

2012

issue 79

201-217

The author takes as her starting point the symbolic treatment of Chinese architecture, as this is its most common function in film. The idea of separation shaped architecture for centuries, expressing the need to protect and isolate oneself from what is foreign and therefore undesirable, unnecessary and dangerous. Walls give cities, estates, palaces and houses an aura of security, made firm through their own, familiar identity against all that is foreign. The subject of the analysis are three films in which normally positive connotations associated with the concept of home are reversed, leading to metaphors, which go beyond what is usually associated with the house as such – i.e. a building inhabited by a family. The following works are examined: Raise the Red Lantern (1991) by Zhang Yimou, Temptress Moon (1996) by Chen Kaige and Spring in a Small Town (2002) by Tian Zhuangzhuang. In each of these films the house is conceived as a closed space, a world from which the characters trapped within it cannot escape. „Closed space” functions in these three films in different ways, but in each it is a sentence that cannot revoked and to which the inhabitants of the houses are condemned. The houses shown in these films include building, which Chen Zuoqian aquired for his concubines, a palace inhabited by the Pang family clan and Dai family home, but apart from being family homes, at the same time they are also booby-trapped houses, prison houses and ruins, that metaphorically represent China as a country closed off from the outside world. In each of these films an individual case is presented, but at the same time the houses and the families serve as a microcosm that reflects the macrocosm with all the relations between the apparatus of power, society and the state.

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