The Movie Butterfly Lovers: a Production for Women
By Qinghong Wang
Compared to the 16th-century ballad, the 1954 movie version of the Butter Fly Lovers is indeed created to entertain women audiences, which is demonstrated by the appearance of Zhu Yingtai and her independent personality. One important aspect to notice is that although she is dressed up in traditional Chinese style clothes, her feet is in natural size. This is very different from the 16th-century ballad version, where the small size of her feet is emphasized particularly as part of her extraordinary beauty. This morbid patriarchal appreciation of “three-inch feet”, which caused health problem to women, is disposed in the movie. This change is readapted for the more liberal aesthetic appreciation of female audiences.
Another essential readapting made in the movie is the personality of Zhu Yingtai. She is more independent than she is in the ballad. Contradicted to her obedience towards the arranged marriage, Yingtai in the movie expressed her refusal to the marriage to her father very directly. Also it is interesting that in the ballad, Yingtai’s desire for advanced education was provoked by hearing upon her brother studying, which implied that women was always led and guided by men: they didn’t have the ability to produce their own thoughts. In the movie, however, it was Zhu Yingtai herself who came up with the aspiration for studying. This new arrangement shows the modern view of female audiences: Women are as independent as men.
All in all, the natural appearance and independence of Zhu Yingtai in 1954 movie indicates that it truly is a great production for women.
The Movie Butterfly Lovers: a Production for Women
The Movie Butterfly Lovers: a Production for Women
By Qinghong Wang
Compared to the 16th-century ballad, the 1954 movie version of the Butter Fly Lovers is indeed created to entertain women audiences, which is demonstrated by the appearance of Zhu Yingtai and her independent personality. One important aspect to notice is that although she is dressed up in traditional Chinese style clothes, her feet is in natural size. This is very different from the 16th-century ballad version, where the small size of her feet is emphasized particularly as part of her extraordinary beauty. This morbid patriarchal appreciation of “three-inch feet”, which caused health problem to women, is disposed in the movie. This change is readapted for the more liberal aesthetic appreciation of female audiences.
Another essential readapting made in the movie is the personality of Zhu Yingtai. She is more independent than she is in the ballad. Contradicted to her obedience towards the arranged marriage, Yingtai in the movie expressed her refusal to the marriage to her father very directly. Also it is interesting that in the ballad, Yingtai’s desire for advanced education was provoked by hearing upon her brother studying, which implied that women was always led and guided by men: they didn’t have the ability to produce their own thoughts. In the movie, however, it was Zhu Yingtai herself who came up with the aspiration for studying. This new arrangement shows the modern view of female audiences: Women are as independent as men.
All in all, the natural appearance and independence of Zhu Yingtai in 1954 movie indicates that it truly is a great production for women.
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