Film of China: A Visual Poem of Taoist Philosophy
The uniqueness and outstanding nature of Chinese film can be attributed to the rich cultural tapestry that informs its narratives, aesthetics, and thematic depth. As a filmmaker from China, exposed to both Asian and Western cultures from a very young age, I often find myself pondering the reasons behind the global recognition that some Chinese films achieve while many others struggle. The core of this disparity, in my opinion, lies in the cultural differences that influence our storytelling, aesthetics, and thematic depth. Chinese filmmakers often draw upon the philosophical, historical, and social elements of their culture to create works that resonate deeply with both local and international audiences. I’ve therefore set out the quest to seek the aesthetic difference and strength of Asian film, particularly Chinese film, and how research can aid Chinese filmmakers in understanding the barriers they face and the strengths of their cultural heritage to achieve global recognition.
In my exploration of Chinese cinema, one of the most significant cultural influences I’ve come across is Taoism. It propagates ideas, emotions, and philosophies that are deeply rooted in the societal norms and historical contexts of its place of origin. The primary distinction between Asian films and their American or European counterparts lies in the cultural values and aesthetic choices that shape their storytelling. Asian films, particularly those from China, often emphasize communal values, historical continuity, and philosophical introspection, while Western films tend to focus on individualism, innovation, and psychological exploration.
Among the bright stars of Chinese movies, Crouching Tiger, Hidden Dragon, directed by Ang Lee, has become a rare classic with its unique Oriental aesthetics and profound cultural connotation. The film not only achieved great success in the domestic market, but also won a high reputation on the international stage, becoming the first foreign language film in the history of the American film box office of more than 100 million US dollars, and won a number of international awards, including the Academy Award for Best Foreign language film(Lee, 2003). “Crouching Tiger, Hidden Dragon” has been able to cross cultural barriers and be loved by global audiences, largely due to its profound interpretation of traditional Chinese martial arts culture and the wonderful presentation of “Tao”, a core concept of traditional Chinese philosophy.
As an important part of Chinese philosophy, “Tao” is rich in connotation, covering the fundamental law of the universe, the moral code of human behavior and the highest state of individual spiritual pursuit. In Crouching Tiger, Hidden Dragon, Tao is not only an ideological thread running through, but also the key to the fate and emotional entanglements of the characters in the film. Through the discussion of “Tao”, director Ang Lee not only shows the inner charm of Chinese culture to the world, but also triggers profound thinking about the relationship between individual and society, tradition and modernity, bondage and freedom(Zhang, 2021).
Therefore, as a periodic end of this long journey, this essay aims to deeply analyze the expression of “Tao” in Crouching Tiger, Hidden Dragon and its influence on the film’s plot and characterization. Through a careful interpretation of the cultural symbols, character relationships and emotional conflicts in the film, we will reveal how Tao is embodied in the film, and how the concept is intertwined with the theme and emotional depth of the film, which together constitute the unique artistic charm of Crouching Tiger, Hidden Dragon.
In “Crouching Tiger, Hidden Dragon,” the character of Li Mubai is not only an outstanding disciple of the Wudang School but also an embodiment of Taoist thought. His character setting, behavior, and internal struggles reflect a profound understanding of Taoist culture concerning individual practice and natural law. This analysis explores how Li Mubai integrates the essence of Taoist thought into the film’s narrative through his words and deeds and examines how this process influences his character’s fate and emotional choices.
Li Mubai is not merely a character but a representation of Taoist culture. His fighting style, the “Xuan Yu Jian Method,” is directly derived from the Taoist classic “Tao Te Ching.” This method is not solely about his combat skills but also signifies his adherence to the Taoist path. At the film’s outset, Li Mubai shares his thoughts with Yu Xiulian, expressing how his solitary practice has brought him to a state of deep peace, albeit tinged with an inexplicable sadness. This state of being aligns with Taoist aspirations of achieving harmony with nature. Li Mubai’s journey epitomizes the Taoist goal of internal growth and understanding of the external world (Jiang, 2022).
In discussing the fusion of Li Mubai and Taoism, it is essential to consider the contrast between Confucianism and Taoism in his emotional relationship. The emotional entanglement between Li Mubai and Yu Xiulian is one of the film’s most poignant plots. Due to Meng Sizhao, an old friend of Li Mubai and Yu Xiulian’s fiancé, they suppress their true feelings, embodying Confucian ethics of “three principles and five constants.” However, Li Mubai’s confession in the bamboo forest and his profound feelings for Yu Xiulian in his final moments highlight Taoism’s emphasis on nature and true emotion. This emotional contrast enriches the characters’ inner worlds and deepens the film’s cultural depth.
In addition to its philosophical depth, “Crouching Tiger, Hidden Dragon” also incorporates elements of Chinese cultural heritage that resonate with a global audience. The film’s depiction of traditional Chinese martial arts, with its emphasis on discipline, respect, and spiritual growth, offers a glimpse into the rich cultural traditions of China. The film’s intricate costume design, inspired by historical Chinese garments, and its use of traditional Chinese music further enhance its cultural authenticity and appeal. As a filmmaker, I often find myself drawn to the slower, more contemplative pacing of Chinese films compared to the fast-paced, action-driven sequences commonly found in Western films. This allows for a deeper exploration of characters’ inner lives and the philosophical themes underpinning the narrative.
A prime example of this contemplative pacing is the bamboo forest fight sequence, where Li Mubai and Yu Jiaolong move gracefully through the treetops, their movements in harmony with the swaying bamboo. This scene is not merely a physical confrontation but a philosophical dialogue between two characters with intertwined fates and ideologies. The slow, rhythmic pacing allows the audience to absorb the subtle expressions and nuanced interactions between the characters. As they exchange blows, they also exchange ideas about freedom, restraint, and the pursuit of personal desires versus societal duties. Li Mubai, embodying the Taoist ideal of balance and harmony, attempts to impart his wisdom to the rebellious Yu Jiaolong, who seeks to break free from societal constraints. The fight choreography mirrors this philosophical struggle, with Li Mubai’s fluid and controlled movements contrasting with Yu Jiaolong’s fierce and impulsive attacks.
The use of long takes and continuous shots in this scene emphasizes the contemplative nature of their interaction. The camera lingers on the characters, capturing the grace and precision of their movements, as well as the serene beauty of the natural setting. This deliberate pacing allows the audience to reflect on the deeper themes being explored, such as the tension between freedom and responsibility, and the search for inner peace in a chaotic world. The bamboo forest itself serves as a powerful visual metaphor for the Taoist principles of flexibility and resilience. The tall, slender stalks bend but do not break, symbolizing the strength of softness and the power of yielding. This setting enhances the philosophical depth of the scene, reinforcing the idea that true strength comes from harmony with nature and oneself.
The character of Yu Jiaolong offers a counterpoint to Li Mubai and presents a different perspective on Taoist philosophy. While Li Mubai represents the Taoist ideal of inner peace and harmony, Yu Jiaolong embodies the Taoist pursuit of freedom and individuality. Her rebellious spirit and desire to escape societal constraints reflect Taoist beliefs in personal freedom and self-expression.
Yu Jiaolong’s journey in the film is marked by her struggle to reconcile her desire for freedom with the expectations placed upon her by society. Her defiance of traditional gender roles and her rejection of an arranged marriage highlight the Taoist emphasis on individuality and the rejection of societal norms. Her character arc culminates in a dramatic leap from a mountain peak, symbolizing her ultimate pursuit of spiritual freedom and transcendence. This act of defiance and liberation is a powerful visual representation of the Taoist ideal of breaking free from the constraints of the material world to achieve spiritual enlightenment.
Yu Jiaolong in “Crouching Tiger, Hidden Dragon” exemplifies someone who rejects traditional expectations. Coming from a powerful family, she disregards her high-class status, yearning instead for freedom. Her initial appearance, expressing a desire to wander freely by the rivers and secretly breaking off an arranged marriage, demonstrates her resistance to conventional social rules. Her character development underscores the Taoist values of freedom and independence, challenging long-standing Confucian societal norms that dictate women’s behavior.
Her enlightenment process is a crucial narrative element. Li Mubai sees potential in her and seeks to guide her away from becoming a “poisonous dragon.” This mentorship extends beyond improving her kung fu skills to reshaping her worldview and values. Her interactions with Li Mubai introduce her to Taoist principles like gentleness overcoming strength and going with the flow, marking her journey of self-discovery and personal growth. Yu Jiaolong’s character in the movie really makes you think about women being free and on their own. For ages, Confucian society has told women to be quiet and follow along, but Yu Jiaolong isn’t having any of that. She’s as good as any man in martial arts, and when it comes to having the same freedom and doing her own thing, she’s all in. Yu Jiaolong’s fight for her rights is a big nod to how Taoism sees everyone as equal and values being free.
Yu Jiaolong’s fight for her rights reflects Taoism’s egalitarian views and its appreciation for freedom. Her martial arts prowess and her quest for autonomy challenge Confucian societal expectations. Her final leap from Wudang Mountain epitomizes Taoism’s love for freedom, akin to the Peng bird’s flight in the Taoist tale “Carefree Travel,” symbolizing her escape from worldly troubles in pursuit of spiritual freedom (Zhang, 2022).
Ang Lee’s incorporation of Taoist philosophy into “Crouching Tiger, Hidden Dragon” is not limited to the characters and narrative but extends to the film’s visual and aesthetic elements. The film’s use of long, continuous takes and fluid camera movements reflects the Taoist principle of flow and harmony. The careful composition of each frame, with its emphasis on balance and symmetry, creates a sense of tranquility and order that mirrors the Taoist belief in the harmony of the natural world. The film’s color palette, dominated by muted greens and earthy tones, evokes a sense of harmony with nature and reinforces the Taoist ideal of simplicity and naturalness. The use of natural light and soft, diffused lighting creates a serene and contemplative atmosphere that enhances the film’s philosophical depth. The careful attention to detail in the film’s set design, from the intricate patterns of the traditional Chinese architecture to the delicate textures of the costumes, further enhances its cultural authenticity and visual appeal.
The images of natural landscapes in the film, such as the vast desert in Xinjiang, the beautiful mountains and rivers in the south of the Yangtze River, and the green bamboo forests, are the embodiment of the “natural Taoism” thought in Taoist culture. These landscapes are not only the background of martial arts action, but also the carrier of emotional and philosophical thinking. In particular, the bamboo forest symbolizes the character of a gentleman in traditional Chinese culture, while in Taoist culture it represents flexibility and adaptability. This just as the sword dance between Li Mubai and Yu Jiaolong in the bamboo forest is both a contest of martial arts and a reflection of Taoist philosophy.
Swords like the Green Destiny are central to the film’s action scenes and carry deeper significance. As symbols of Taoist moderation and receptivity, they represent principles of not forcing, not claiming victory, and acting in accordance with the natural order. Li Mubai’s and Yu Jiaolong’s use of the sword reflects Taoist principles of using softness to overcome hardness, with their fluid, harmonious movements embodying balance within Taoism.
In addition, Composition and cinematography, including the use of long lenses and careful light and color, reflect the director’s pursuit of Taoist artistic conception. These techniques enhance the film’s visual beauty and deepen its emotional and philosophical expression. Low saturation colors and natural light effects create a quiet and profound atmosphere, allowing the audience to appreciate the “quiet” and “empty” in Taoist culture (Tang, 2024). Detailed images, such as Li Mubai’s Taoist robe, Yu Jiaolong’s night clothes, and elements like the tea ceremony and calligraphy, also enhance the film’s Oriental cultural atmosphere and deepen its philosophical connotation. These images symbolize Taoist cultural values, such as Li Mubai’s robe representing his pursuit of Taoist practice and Yu Jiaolong’s night attire symbolizing her desire for freedom and resistance to traditional restraints.
Despite many great quality commonly find in Asian films, I recognize the significant challenges we face in achieving global recognition for Chinese cinema. One major barrier is the difference in storytelling conventions and aesthetic preferences between Eastern and Western audiences. Western audiences are often accustomed to fast-paced, plot-driven narratives with clear resolutions, while Chinese films may prioritize atmosphere, mood, and philosophical introspection over straightforward storytelling. This difference can sometimes lead to a disconnect between the film and its intended audience.
Another challenge is the historical and political context that shapes the reception of Chinese films abroad. The global film industry is heavily influenced by Hollywood, which sets the standards for commercial success and marketability. This dominance can overshadow the unique contributions of non-Western films and create a bias towards Western storytelling conventions.
To overcome these barriers, I draw inspiration from the success of directors like Ang Lee, who has managed to bridge the cultural divide by incorporating universal themes and accessible storytelling techniques without compromising the cultural integrity of his work. By focusing on the strengths of our cultural heritage and finding innovative ways to present these themes to a global audience, we as Chinese filmmakers can create works that resonate on a universal level.
As an influential Chinese film, Crouching Tiger, Hidden Dragon has not only achieved great success in commerce, but also demonstrated its profound value in art and culture. Through the in-depth analysis of the perspective expression of “Tao” in the film, we can gain an insight into how director Ang Lee skillfully integrates the essence of traditional Chinese culture into the narrative of the film, and makes the concept of “Tao” become the core force to promote the plot development and shape the character image.
The two roles of Li Mubai and Yu Jiaolong represent different aspects of Taoist thought. The fusion of Li Mubai’s Taoist identity and Confucian behavior shows the individual’s pursuit of balance between spiritual practice and social responsibility. Yu Jiaolong’s desire for freedom and ultimate spiritual liberation reflect Taoism culture’s deep understanding of individual inner cultivation and natural laws. The interaction and growth of these two characters not only promotes the development of the plot of the film, but also deepens the philosophical thinking of “Tao”.
Natural landscapes, sword art, and detailed images in the film concretely express Taoist culture, enriching its visual effect and philosophical connotation. Through carefully designed compositions and photography techniques, Ang Lee creates a quiet, far-reaching atmosphere, allowing the audience to appreciate the “quiet” and “empty” in Taoist culture while enjoying the martial arts movements.
My investigation into the aesthetic of Asian film, particularly Chinese film, reveals the profound cultural and philosophical underpinnings that shape our narratives and visual style. Crouching Tiger, Hidden Dragon not only provides an opportunity for global audiences to have an in-depth understanding of traditional Chinese culture through the multi-dimensional presentation of “Tao”, but also makes an important contribution to the international spread and influence of Chinese films.
By focusing on the strengths of our cultural heritage and finding innovative ways to present these themes to a global audience, we as Chinese filmmakers can overcome the barriers we face and achieve global recognition. The success of directors like Ang Lee and Wong Kar-wai demonstrates that there is a global appetite for films that offer a unique cultural perspective while addressing universal themes. By skillfully blending cultural specificity with universal appeal, we can create works that resonate on a universal level and contribute to a richer, more diverse global film industry.
References
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