The Image of China in Sino-French Co-production Films: A Case Study of Warrior's Gate

Yu-Liang Chang, Nien-Hsia Liu

Abstract

French films have always been different from Hollywood production models. Thus, in theory, Sino-French co-productions should be culturally co-produced more than the market box office. However, knowing whether all Sino-French co-productions use this production model is worthy of attention. This article selects the Sino-French co-production film Warrior's Gate, which presents Eastern and Western cultures competing for hegemony. Through the analysis of ideological theory and cultural hegemony theory, the film narrative method was found not deviating from the logic of Orientalism and regarded the Chinese image as a mysterious oriental code, for example, the group blindly following the authoritarian country, submissive oriental women waiting to be rescued and the “spectacle” of the East from a western perspective.

 

Keywords:   Chinese Image, Cultural Hegemony, Orientalism, Sino-French Co-Production Films

 

 


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