Confucianism in the Films of Edward Yang

Research Article
Open access

Confucianism in the Films of Edward Yang

Zhuolin Wu 1*
  • 1 Institute of Journalism and Communication, Shandong University, Jinan, Shandong, China    
  • *corresponding author Ingram@mail.sdu.edu.cn
CHR Vol.3
ISSN (Print): 2753-7072
ISSN (Online): 2753-7064
ISBN (Print): 978-1-915371-29-4
ISBN (Online): 978-1-915371-30-0

Abstract

As one of the most prestigious directors in the Chinese-speaking world, Edward Yang uses film as a way to construct and convey his own thinking. Like all Chinese literati since the New Culture Movement, Yang repeatedly wanders between modernity and traditional Chinese philosophy, calmly analyzing the existential dilemmas of the urban middle class as a masterful deconstructionist and authoritative critic. Confucianism, as the most deeply rooted traditional thought in Chinese society, has profoundly shaped interpersonal communication and social values in Chinese society. The principles of benevolence, morality, sacrificing life for righteousness, reverence for propriety, and patriarchal thinking have long been the rules of Chinese society and are still the supreme beliefs of some Chinese people. In Edward Yang, one can find both his idealized intellectual Confucianism and his self-deprecation and criticism of Confucianism. This research will analyze three of Yang's representative films, A Brighter Summer Day, A Confucian Confusion, and A One and A Two, and explore Yang's Confucian identity as a film author in the context of his other works, and analyze his thoughts and confusion in the intertwined and contradictory nature of modernity and Confucianism. In these three films, Edward Yang's inner contradiction in his thinking of Confucianism in Chinese society is insightful and inspiring.

Keywords:

Edward Yang, Confucianism, New Taiwan cinema

Wu,Z. (2023). Confucianism in the Films of Edward Yang. Communications in Humanities Research,3,868-875.
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References

[1]. Huang WJ. (2009). New Taiwanese Cinema in Contemporary Perspective: Position, Aims and Aesthetics. Film Art (03), 60-67.

[2]. Nga-Chun, L., & Chun-Cheong, L. (2016). Edward Yang's Confusion. Contemporary Aesthetics (Journal Archive), (5), 7.

[3]. Liu, Hui. (2005). A brief discussion of the Confucian ideal personality. Social Science Front (04), 229-233.

[4]. Chen Jian. (2010). "Father, Father, Son" - On the Pure Father-Son Relationship in Confucianism. Journal of Shandong University (Philosophy and Social Science Edition) (01), 129-134.

[5]. Zhao Chun. (2011). From the decline of patriarchy to growing up without a father: On the change of growth narratives since the new Taiwanese cinema. Qilu Yiyuan (01), 82-86.

[6]. Chen Rui. (2009). A study of urban issues in the films of Edward Yang (Master's thesis, University of Science and Technology of China).

[7]. Zuo Heng. (2003). Cultural criticism of Edward Yang's film The Age of Independence. New Works in Cinema (04), 25-27

[8]. Yum, J. O. (1988). The impact of Confucianism on interpersonal relationships and communication patterns in East Asia. Communications Monographs, 55(4), 374-388.

[9]. Debord, G. (2012). Society of the Spectacle. Bread and Circuses Publishing.

[10]. Dou Juan. (2009). A Confucian artist in the urban jungle: An overview of director Edward Yang. Qilu Yiyuan: Journal of Shandong Arts College, (3), 35-37.

[11]. Hu Jing. (2014). A preliminary exploration of Confucius' view of love in The Analects of Confucius. Young Literary Scholar (09), 10-11.

[12]. Bo, R. (2018). From Plato's Cave To Edward Yang's Cinema: An Examination Of Filmic Language And Its Noetic Potential.

[13]. Hu Xia. (2015). The image of "aphasia" in the narrative structure of the film: the example of Edward Yang's film A One and a Two. Big Stage, (10), 112-113.

Cite this article

Wu,Z. (2023). Confucianism in the Films of Edward Yang. Communications in Humanities Research,3,868-875.

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About volume

Volume title: Proceedings of the International Conference on Interdisciplinary Humanities and Communication Studies (ICIHCS 2022), Part 1

ISBN：978-1-915371-29-4(Print) / 978-1-915371-30-0(Online)
Editor：Faraz Ali Bughio, David T. Mitchell
Conference website: https://www.icihcs.org/
Conference date: 18 December 2022
Series: Communications in Humanities Research
Volume number: Vol.3
ISSN：2753-7064(Print) / 2753-7072(Online)

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References

[1]. Huang WJ. (2009). New Taiwanese Cinema in Contemporary Perspective: Position, Aims and Aesthetics. Film Art (03), 60-67.

[2]. Nga-Chun, L., & Chun-Cheong, L. (2016). Edward Yang's Confusion. Contemporary Aesthetics (Journal Archive), (5), 7.

[3]. Liu, Hui. (2005). A brief discussion of the Confucian ideal personality. Social Science Front (04), 229-233.

[4]. Chen Jian. (2010). "Father, Father, Son" - On the Pure Father-Son Relationship in Confucianism. Journal of Shandong University (Philosophy and Social Science Edition) (01), 129-134.

[5]. Zhao Chun. (2011). From the decline of patriarchy to growing up without a father: On the change of growth narratives since the new Taiwanese cinema. Qilu Yiyuan (01), 82-86.

[6]. Chen Rui. (2009). A study of urban issues in the films of Edward Yang (Master's thesis, University of Science and Technology of China).

[7]. Zuo Heng. (2003). Cultural criticism of Edward Yang's film The Age of Independence. New Works in Cinema (04), 25-27

[8]. Yum, J. O. (1988). The impact of Confucianism on interpersonal relationships and communication patterns in East Asia. Communications Monographs, 55(4), 374-388.

[9]. Debord, G. (2012). Society of the Spectacle. Bread and Circuses Publishing.

[10]. Dou Juan. (2009). A Confucian artist in the urban jungle: An overview of director Edward Yang. Qilu Yiyuan: Journal of Shandong Arts College, (3), 35-37.

[11]. Hu Jing. (2014). A preliminary exploration of Confucius' view of love in The Analects of Confucius. Young Literary Scholar (09), 10-11.

[12]. Bo, R. (2018). From Plato's Cave To Edward Yang's Cinema: An Examination Of Filmic Language And Its Noetic Potential.

[13]. Hu Xia. (2015). The image of "aphasia" in the narrative structure of the film: the example of Edward Yang's film A One and a Two. Big Stage, (10), 112-113.

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