"The Forbidden" in East Asian Films

Directors use forbidden concepts to move plot forward in film. They give the protagonist something to fight against or rules to break so that a major event can occur as a result of doing something forbidden to them. Many East Asian films contain the forbidden in them, regardless of their region or the time they are produced. While some have the protagonist forbidding something from him or herself, others have societal laws or expectations that cannot be broken. Furthermore, watching these films gives viewers a chance to break their own societal rules by experiencing the forbidden alongside the characters. The concept of the forbidden is used in films from each region of East Asia: The Big Boss from Hong Kong, Raise the Red Lantern from China, Sandakan 8 from Japan, and Joint Security Area from Korea.

The Big Boss

Cheng is shocked after he has harmed the henchmen

Cheng's shock after the final battle

Cheng allows himself to be taken away because he knows he has committed a crime 

The Big Boss (Fists of Fury in China) focuses on the internally enforced restrictions that characters give themselves. Cheng Chao-an (Bruce Lee) initially seems to be a normal man, but viewers learn that he was involved in many fights in his home town. Before his mother died, he made a promise to her not to fight with anyone after her death. He wears a charm around his neck to remind himself of his promise and he follows it well at the beginning of the film. As the story progresses, Cheng begins to struggle with himself as fights break out and he resists his need to get involved. Viewers watch Cheng suffer from the internal conflict between assisting his adopted family and maintaining his promise. He has forbidden himself to physically fight with others. This struggle continues until Cheng’s charm is broken, and Cheng literally snaps. He brutalizes the Boss’s henchmen and easily wins the fight as a result of his previous experience. While the factory workers admire Cheng for his abilities, he is lost in despair at his harming others. Cheng can only dwell on having done something forbidden by breaking the promise to his mother. He is still aware of the impact of breaking the promise at the conclusion of the film, when he turns himself into the police for killing the Boss. Cheng gives himself up because he feels he deserves to be arrested for what he has done, even if he has avenged his family and defeated a crime lord.

Songlian initially is treated well when she begins her deception

However, she is punished terribly when she is discovered

In Raise the Red Lantern, the main female character, Songlian, fights against the set rules of her house and is punished for her behavior. She is sold to the Master of a wealthy household by her mother and must take on his family rules when she becomes his fourth wife. Songlian is adopted into the sisterhood of the wives, but she quickly learns that each wife is fighting against the others to gain the Master’s favor. Like the others, she begins to do whatever she can to have his attention. Eventually, she crosses the line and fakes her pregnancy, which angers the Master when she is caught. Tricking the Master is against the family rules, a forbidden act that results in her losing any opportunity with the Master. This punishment breaks Songlian, and she begins to complete more forbidden acts in order to attempt to regain her previous standing. Eventually, she reveals the Third Wife’s affair, betraying her friend in the process. She witnesses the execution of the Third Wife and accuses the family of murder. In this case, she has done two forbidden things: look into the execution room, the one place the women are not allowed to go, and speak against her husband. Viewers do not see the time immediately following the execution, but they do see Songlian during the following summer, where she is revealed to be insane. After breaking the rules again, she was probably punished through a continued separation from the rest of the family. The continuous punishment, coupled with her guilt at breaking her relationship with her friend, results in her insanity.

Keiko and Osaki talk inside of Osaki's rundown home

Osaki-san and Keiko are faced with societal expectations in Sandakan 8. Keiko quickly learns that her interaction and living with Osaki is wrong in the eyes of the other villagers when Osaki is confronted. While the villagers tolerate Osaki’s presence in their village, they do not want to think about her because of her past. When Osaki is a young woman, the obaasan of the brothel warns the girls against returning to Japan. Many of the girls see this as being forbidden to return, especially because they held the old woman in such high esteem. However, Osaki breaks her promise not to return and goes home to her brother. In Japan, she is discriminated against and hated for what she is. Even though being a karayuki-san was acceptable and even honored when she was a child, the Japanese people had begun to hate the karayuki-san when she returned to her country. What she had done for her family became a socially forbidden act. Her brother shunned her for what she had done, when she thought he would be happy to see her home safe. Although what she had done wasn't originally seen as wrong, it became forbidden and she suffered terribly because of it.

The borderline between North and South Korea. 

The face-off between friends

A South Korean soldier and a North Korean soldier face off across the border

This photo was forbidden, and contains the only image of the four friends together. The forbidden photo is an image of people who have committed forbidden acts. 

Joint Security Area is all about people going against what they are told and completing forbidden acts. The film is about a fictional murder that occurs when South Koreans cross the border between North and South Korea and the friendship that is discovered as the investigation progresses. Viewers learn that the two North and two South Korean soldiers have formed a friendship and would meet at nighttime on the Northern side of the border, which is where the murder occurred. People are absolutely not allowed to cross over the border between the two counties, a point which is often reiterated throughout the film. In one scene a group of tourists are on a border tour. One woman loses her hat, which blows over the line in a strong gust of wind. One of the border soldiers returns the hat to the tour guide, who has to reach across the line to retrieve it. After the interaction, the tour guide states that he would normally be executed for crossing the border. However, border crossing is a main theme of the film. Both the guard and the South Korean soldiers cross over the line. The soldiers cross multiple times, and even though they feel discomfort from it, they continue to do so. They know what the consequences of crossing will be if they are caught, but their friendship means more to them than following the rules. This results in the terribly sad conclusion, where every character except for one dies. This film shows that choosing to go against set rules can result in temporary satisfaction, but will eventually end in disaster.

Film viewers are able to participate in usually forbidden acts by seeing movies. In the case of the films described, viewers can engage in a voyeuristic vision of lives where people resist against set rules. Viewers were able to experience satisfaction as they watched Bruce Lee’s character destroy the “bad guys” because they could cheer for Lee’s character’s goals. However, people are usually punished for attacking and killing others, regardless of their crimes. People who support Cheng’s actions are participating in normally forbidden behavior as they encourage murder and mutilation. Watchers of Raise the Red Lantern engage in an act of gazing upon Songlian’s vulnerability and initial confusion as she enters the Master’s household. Viewers look upon Songlian as the Master would, admiring her beauty and her childishness. Like watching Bruce Lee beat people up, this very forward staring would normally be seen by society as creepy. This same watching of vulnerability is seen in Sandakan 8, where viewers see Osaki and other karayuki-san in various situations that would not be seen otherwise. Viewers stare at Osaki’s life, especially during scenes like the final interaction between Keiko and Osaki, where Osaki begins bawling at Keiko’s departure. People who watch JSA are also allowing normally illegal behavior as they feel compassion for the relationships shared between the Northern and Southern soldiers. While the viewers would condone such behavior outside of the theater, they can’t help but hope for the soldiers to continue to be friends as they watch the men talking and fooling around together. Watching films allows viewers to engage in normally forbidden and even illegal behavior because viewers know that the film is fiction, so they can feel whatever they want towards the characters.

The concept of the forbidden is prevalent in East Asian films. While the forbidden is slightly different for each culture, breaking the rules often results in similar consequences. In each film, characters commit acts that are forbidden and are punished by higher powers. Bruce Lee’s character is punished when he is arrested, while Songlian is punished by the Master and eventually goes insane as a result of her punishment. The Korean soldiers are all punished through death, whether they are shot during the panic in the North, or they commit suicide out of guilt. Osaki-san’s punishment is the most tragic, where she is shunned by her friends and family, even though she did not choose to commit a forbidden act. The only choice she made was to return to Japan, which was forbidden by the obaasan. The characters must each suffer some punishment to remind viewers that the things they commit are forbidden. While viewers to get to enjoy the act alongside the characters, they must forget the experience once they leave the theater.  

Japan Blossay

Death In Japanese Film

The Japanese people believe in mujou, the transience and mutability of life, which explains that death is unavoidable. They see death as a part of life. Because of this, they hold a deep respect for the deceased. This respect is shown in their treatment of the dying and their performance of funeral rights. Japanese films which contain death and funeral scenes help people outside of Japan to better understand their treatment of the dead. I will be analyzing four death-related scenes from three different Japanese films: both the wife’s funeral and Watanabe’s funeral from Ikiru, the final scene from Sandakan 8, and the boar god’s death from Mononoke Hime.

The wife’s funeral is a flashback scene that occurs when Watanabe looks into the altar he has set up for his deceased wife. The scene is only about thirty seconds long, but it helps to build on the relationship between the son, Mitsuo, and Watanabe. The scene shows how devastated Watanabe is by his wife’s death, and it also shows how young the son was when he lost his mother. The scene is silent until the flashback, where a quiet brass instrument plays in the background. The instrument is slow and deliberate, and reminds me of the American song “Taps.” The dirge lends to the morose atmosphere of the scene. The melancholy of the scene is also seen in the outfits of the characters, who are all wearing black formalwear for the funeral. Many films use rain to depict the sadness of a funeral scene, and Ikiru is no exception to this rule. The rain also eliminates any light inside the car, so the characters’ faces are in shadow.

The shot of the boy Mitsuo’s face is very revelatory. The close-up of his face at slightly below eye-level allows viewers to see where he is gazing. The boy’s intense stare is focused off-screen, but viewers can still conclude that he’s watching the car. There is no light in the shot, which actually emphasizes the white of his eyes, and his stare.

Similarly, the shot of Watanabe holding his son after he talks about his mother has little light. The eyes of Watanabe are emphasized this time, instead of those of Mitsuo. The similarities between the two shots emphasize the similarities between the father and son. They both stare off-screen in the direction of the hearse. They are also both dressed alike, in black suits with black hats. Even their expressions are similar; the trademark stare of Watanabe is mimicked in his son’s eyes. The camera angle and distance is the same in each shot so viewers can clearly see the similarities between the two characters.

The scene ends in the present, with Watanabe kneeling in front of the altar for his wife. The altar is in the corner of the room, stored next to some binders and books that presumably contain information on Watanabe’s work. Near the ceiling are his certificates of achievement. Even though his love for his wife is evident, viewers can also see that Watanabe’s work follows him into his personal life. However, in this shot, he is almost burying his face in the altar to stare at the picture of his wife. Viewers can infer that his wife is the only escape he has from work, especially because his relationship with his son is so broken. The only light is from the ceiling lamp, so Watanabe and the altar are lit, but the shadows are also visible. The scene is silent, with no music or ambient noise. The distance of the shot and placing Watanabe in the corner, coupled with the dim lighting and the lack of noise, emphasize how alone Watanabe the character is.

 The atmosphere in the funeral scene for Watanabe is still solemn, but it is not depicted the same way as the wife’s funeral. The room is brightly lit, and the light is focused on the large, overbearing altar for Watanabe. The altar covers an entire wall, which is very different from the small altar Watanabe cherishes in his own home. The people are all dressed in black, but they are not silent and are speaking about business up until the women arrive. There is no music, which leaves an empty feeling, much like when Watanabe is alone in his room. The silence is pierced by the arrival of the village women, who sob loudly as they bow to the altar. The camera cuts from each woman’s face to those of the businessmen to emphasize the contrast between their emotions and to show the businessmen’s discomfort. The characters are each quietly respectful, but they also do not show sadness in their expressions. The people are there more out of obligation, than desire, which is why the deputy mayor is so quick to escape after the village women leave.

In this shot we see all of the businessmen before the women enter the room. They are talking about nothing in particular, and definitely not the deceased Watanabe. They are each wearing a dark-colored suit, which is usual for Japanese men of the time. The women and the son are wearing more traditional costumes.

This shot is of the women from the village. They are bowed over in front of Watanabe’s altar. While viewers cannot see their faces, they are clearly sobbing audibly. The characters watching the women are expressionless, but their discomfort becomes obvious as the scene progresses. The flower arrangement in the upper left corner of the scene is huge, and shows the gaudiness of the funeral.

The altar is huge and ornate. The women and the funeral attendees seem small in comparison, because they, like Watanabe, are only small parts of a bigger corporation. The funeral is staged more than it should be. Watanabe is depicted as a relatively simple man throughout the film, so the opulence of the funeral is jarring against his character. The over-done funeral shows the distance between the father and the son. Mitsuo’s broken relationship with his father is reflected in his inability to properly remember Watanabe. The cookie-cutter funeral is broken up by the village women, who know Watanabe more than his own family.

The final scene in Sanadakan 8 shows the reporter, Keiko, finding the tombstones of the karayuki-san in the forest. The sun shines through the tree leaves as Keiko looks skyward to determine which direction the graves are facing. The graves are simple obelisks with the names of the women carved into them. Keiko shows respect for each karayuki-san by pouring water over the stone and lighting incense for the women before praying for them. This is a typical Japanese act when visiting graves. The water is used to cleanse the grave along with the incense. The music of the scene is relatively quiet until Keiko discovers the direction the stones are facing. Then, the music swells and culminates in a minor forte, showing the sadness of the discovery. The camera cuts to Keiko’s distressed face and she states that the graves are facing away from Japan. Keiko whispers the statement, to show a mixture of wonder and sadness. The scene is referencing a statement made by the obaa-san, where she claimed that the karayuki-san must never return to Japan. The stones turned from Japan represent the women turning their backs on the country.

The boar god’s death in Mononoke Hime shows the respect the Japanese have for the gods, and also the respect they have towards the dying. The shaman bows multiple times before the dying god, and mentions a burial mound. The villagers kneel behind the shaman to show their respect for the god as well, because they know they need to respect the dying god. The music right before the boar god falls is fast and loud, showing the intensity of the scene leading up to the death. However, after the god begins to die, the music cuts out and the only sounds are the speech and the god’s breathing. The lack of music is to bring the focus of the audience to the death of the god and its breathing. The shot then cuts back and forth between the boar and the shaman as each speaks to focus the viewers on each character, rather than the event.

The shaman bows before the boar god and recites a ritual statement about the god’s death. The darkness around the god is a result of the curse, but it also shows the darkness of the god’s death. The shaman’s costume from the back is very colorful and has two yellow C’s. The C’s are also on the front of her costume, and she wears earrings and a necklace to establish her position. San, the wolf girl who is seen later in the film, wears similar jewelry. None of the villagers wear shoes, which emphasizes their connection with nature. After the boar god dies, more grass around it dies as well, and the smoke from the corpse floats through the air.

Each film addresses death differently, but they also contain similar elements. The general idea of respect towards the dead is in each film, along with deliberately holding a funeral. Even though each film is very different, they depict Japanese culture accurately.