Sexo, Política Y Fe: Aproximación A Crónica De Una Muerte Anunciada Y La Mañana De Sangre  

Oleh:

Chang, Luisa Shu-Ying

Jenis: Article from Journal - ilmiah internasional
Dalam koleksi: Fu jen studies: literature & linguistics no. 41 (2008), page 111-135.
Topik: Bloody Morning; Chronicle of a Death Foretold; sexual discrimination; patriarchy; sociopolitical backgrounds; Chinese society; political violence

Ketersediaan

Perpustakaan Pusat (Semanggi) Nomor Panggil: FF10.4 Non-tandon: 1 (dapat dipinjam: 0) Tandon: tidak ada

Lihat Detail Induk

Isi artikel

This article analyzes the film Bloody Morning (1990), Mainland Chinese director Li Xiaohong's adaptation of Gabriel Garcia Márquez's novel Chronicle of Death Foretold (1981), focusing on differences in viewpoint, narrative technique, and theme between film and novel. Sexual discrimination and patriarchy are focal points of both works. In the novel the twin brothers Pedro and Pablo Vicario kill Santiago Nasar in the name of the "Father" (God) for allegedly violating their sister Angela's virginity. In the film, under the archaic tradition of exchanging sisters for "wives", Hongxing and Xiuquin are exchanged according to an agreement between their brothers and the family patriarch. Further, the twin brothers of Hongxing kill the teacher Mingkuang in the name of patriarchal honor. However, Li's treatment of patriarchy diverges from that of Garcia Márquez by omitting the religious context and the romantic ending, which in the novel finally reunites Angela and Bayardo. The sociopolitical backgrounds of Colombia and China, respectively, greatly influence Garcia Márquez's novel and Li's film. The novel refers to actual events that occured in 1951 after the 1948 Bogota riots known as "El Bogotazo," while the film, completed just after the Tianamen Square massacre of 1989, portrays Chinese society in the 1980s. Both Garcia Márquez and Li employ the political violence of their countries as "pretexts" for their creative works. Garcia Márquez reveals the consequences of the Colombian political crisis, while Li represents the violence on the morning of June 4, 1989, through allegory. Collective silence and moral responsibility in regard to crime are the key points of both novel and film. The killings of Santiago Nasar and Mingkuang and the suicide of Hongxing represent victimization by "public opinion," a result of ignorance and inflexible tradition.

Opini Anda

Klik untuk menuliskan opini Anda tentang koleksi ini!

Kembali