Thursday, January 10, 2013
The Story of Qiu Ju
Think about the presentation of Qiu Ju and Meizi in the film. In one paragraph, discuss how both of these women are represented cinematically. In your next paragraph discuss how the countryside and the city are represented cinematically. In your last paragraph, tell me if you liked the film and what you liked best about it. Include also any films or filmmakers you would compare it to. I will give extra credit to anyone who watches another Fifth Generation film and writes one paragraph on their film of choice.
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The cinematic portrayal of Qiu Ju and Meizi represent their lack of power and control, their disorientation while in the big city. These women, and most characters in the film, are shot in mostly MS and LS, especially while in the city. This makes them appear very small on the screen and this is used to symbolize their power, which is none. They are just as powerful, if not weaker, than everyone else. Qiu Ju is this small, countryside woman trying to get her chief to apologize. She cannot make him do it, so she tries to get the authorities and the courts to do it for her. She virtually has no power. While in the city, they are these small figures amongst a sea of many others, all moving in multiple directions and it is very chaotic on screen. This represents the feeling the women have while in the city. Too many things are moving around and they have no idea what to do or what’s going on. Their clothing is used to represent their origin and represent how they are out of place when they are in the city. One character knew they were from the country just by looking at their clothing. They stuck out while in the city, which is used to represent how they do not really belong or fit in and they are out of their comfort zone. Also, Qiu Ju is pregnant and hobbles around without much rest and this represents her stubbornness. Meizi is always shown with Qiu Ju (except when Meizi chased after the rider who ripped them off) which represents her loyalty and dedication.
ReplyDeleteThe countryside and city are different in their cinematic portrayals. The countryside is more peaceful, empty, and calmer, while the city is more chaotic and cramped. This is due to all of the people in the frame during the city shots with cause a lot of kinesis and chaos in the shot, while there is a lack of kinesis in the countryside shots. I believe the director was making a statement about the migration from the countryside to the city through these cinematic portrayals. The countryside was calmer, but emptier, representing how many people were leaving the countryside. Also, Qiu Ju had to leave the countryside whenever she wanted to get something done, showing how there is more power in the city and more things can get done there.
I personally found the film a bit slow moving and a bit boring at times even, but I still enjoyed it quite a bit. I enjoyed the documentary feeling to it, although it made things look very boring. My enjoyment is partially biased; because this is an acclaimed film I feel I must enjoy it. I did enjoy its use of music (both diegetic and non-diegetic) very much. There was not a lot of music, but when there was, it was used very well. The song that was used constantly whenever Qiu Ju decided to go to the city or the town gave a very goofy, comical feeling to the scene. It is a bit ridiculous that it is about a pregnant woman wanting to get an apology from the chief for kicking her husband in the groin, so I feel the sounded comical for that reason. Also, she went to court just for an apology, which is a bit goofy in a way. It was also the same song and I think the same part as well, so there was a repetitive feeling to the scenes that used that song, and I feel that was the point, because she goes and does the same thing every time, and gets the same decision made every time. I thought the ending was great by playing that same song again, because it gave the impression that she is going to go back to town and the city and court to get the chief out of jail. The use of music in this film reminded of the use of music in Martin Scorsese’s films. Although this film did not use it in as much in an ironic way as a Scorsese film; I still thought of them while watching the film.
Qiu Ju and Meizi are both portrayed as outsiders throughout the film. This is made clear through the use of costume design. The bright and colorful apparel of these two characters sticks out amongst the dark and drab clothing of the city people, even after Qiu Ju buys new clothes in an attempt to fit in.
ReplyDeleteThe city and countryside are portrayed in very different ways. The city is portrayed as very busy and bustling. In every scene set there, crowds of people fill up the entire shot. As well, the diegetic sound is very loud, and made up mainly of the sounds of the crowded masses speaking. Inversely, the countryside scenes are much less busy. Many shots are composed so that the people are dwarfed by the landscape, rather than making it up. As well, the diegetic sound is very quiet. The dialogue of the characters and occasional ambient sounds are the only sounds audible.
I did enjoy the film. I appreciated Gong Li's performance. I can't recall if I've seen her in any other films, but I was aware of her status as a glamorous and famous actress before seeing this, so seeing her in this role was interesting. The film reminded me somewhat of "The Wind Will Carry Us" by Abbas Kiarostami. Both films have minimal camera work, are located mainly in small towns, have repetitive structures, and feature a loner character finding it difficult to achieve a simple goal.
In The Story of Qiu Ju, Qiu Ju and Meizi are portrayed as anomalies within their environment, especially when they make it to the city. Much of the city landscape is based on plain color schemes - the grey of the buildings, the blue of the courtroom - which contrasts with Qiu Ju's and Meizi's bright, patterned clothing. They are depicted as anomalies in many long shots that make the two appear to be bright splotches on an otherwise colorless urban landscape. The dichotomy between the colorless city scapes and the brightly colored women accentuates how ill-adjusted they are when they venture out into the city; their colors represent an ambition and naivety that clashes with the cold-hearted citizens of the city.
ReplyDeleteThe editing, shot composition, and sound design of The Story of Qiu Ju all change radically when Qiu Ju makes it to the city. The country sections of the film have a quiet nondiegetic soundtrack, a slow pace of editing, and static shots that reveal the space of the countryside. When Qiu Ju makes it to the city, the shots become more kinetic, following our protagonist through crowded shots of endless urban sprawl. The peaceful soundtrack of the film is replaced with the loud diegetic sound of a sea of people talking and moving.
I enjoyed the film more as it went on. As I got into the deliberate pacing of the film, I began to appreciate the idiosyncrasies and subtle, quirky humor. It reminded me of the works of Wes Anderson, particularly Rushmore, in its unusual color scheme, use of dry humor and lifelike dialogue, and ambitious characters in a world that does not foster their ambition. In its allegiance to dry humor and dialogue it also reminded me of Jim Jarmusch's Stranger Than Paradise.
Qui Ju and Meizi feel very alien when they enter the city. The director shows us this through elements of mis-en-scene. The clothing that they buy looks ridiculous, and the oranges and tacky painting are unnecessary gifts for their visit. Qui Ju is also portrayed as tenacious. When she first visits Wang, she is framed at one point so that only the lower half of her body is in the shot and Wang, sitting, is totally in the shot. She dominates the foreground while Wang is smaller in the background. This represents Qui Ju’s attempts to make Wang submit to her requests and apologize to her husband. Wang refuses, however, and as he stands up the camera moves up to show the upper half of each character as they stand face to face, obstinate enemies.
ReplyDeleteThe film makes frequent use of long shots. In long shots of the countryside, the frame is open; houses are far apart and people are rare. In long shots of the city, the frame is closed; the frame is filled with bustling cars and people. This creates a claustrophobic effect that demonstrates how oppressive the city can be. The city’s modernity is also a stark contrast to the countryside. Cars replace cows and the people wear suits and fashionable clothing rather than big padded jackets. The country people rely on fire to keep their homes warm. The diegetic sound changes when Qui Ju and Meizi enter the city. In the country things are quiet but in the city they are overwhelmed by sounds.
The Story of Qui Ju reminded me a lot of Erin Kolirin’s The Band’s Visit. Both movies have very simple characters who feel alienated in a setting they are unfamiliar with, extended sequences with no dialogue, a very plain aesthetic, many long open shots, long takes, extreme naturalism, etc. I liked Qui Ju. I liked the simplicity of the film, the dry wit, and the cold, dreary look.
I also watched Farewell, My Concubine and Suzhou River. Farewell was great, I thought. It reminded me vaguely of Children of Paradise because it followed a similar storyline – two actors meet in a theater and becomes friends; a woman comes between them and over the years the actors become successful and grow apart somewhat. It also had an odd sense of humor and slightly surreal quality that reminded me of Pastoral: To Die In the Country. I love how elaborate it was and what it managed to do with a big budget and a length of three hours. It felt immersing because of its monumentality and that made the characters’ story impossible not to care about. The colors were wonderful, the characters were memorable, it was fun yet touching.
Suzhou River was great for very different reasons. Unlike the lush colors of Farewell, SR was very gray and urban. I liked the pseudo-documentary style. My favorite part was the opening scene in which Lou Ye traverses the river; that scene had the best imagery, in my opinion. I also loved the kind of folkloric telling of the story through the frame of Lou Ye’s introduction and the way he transformed elements of the filthy city, like the river and the girl he meets, into these magical elements.