fear—toward the representation of their cultural identity in the film is thus caused by its western
investors and production participants who possess the authority on many aspects of filmmaking.
Ang Lee has addressed his thoughts regarding the issues on the genre’s reconfiguration and
That was the only way to make this movie. Hollywood financed it, Hollywood was
responsible for the aesthetics. I use a lot of language that’s not spoken in the Ching
dynasty. Is that good or bad? Is it Westernization or is it modernization? In some ways
modernization is Westernization — that’s the fact we hate to admit. Chinese people
don’t watch Chinese films anymore. They watch Western movies. In Taiwan,
“Crouching Tiger” did so well because it was promoted as a big Hollywood movie.14
Modernization is a notion originates from the west; a rendering of the western sets of
value. To modernize a traditional
film (to market it worldwide) is thus to westernize it;
and to westernize a
film does not erase but exoticize the Chineseness. Therefore,
features two female protagonists with more and better portrayals than for the
male character, offering a brand new feminist reading to the text, which is a subversion to the
malecentric convention of the genre; and this can be read as a major example of westernization.
It is inevitable to insert exotica when the major source of funding of a supposedlycultural
production is backed by Hollywood.
has been reconfigured to be westernized in terms of
capitalism in the context of globalization.
Following Lee’s worldwide aesthetic and commercial success, Zhang Yimou produced
two years later and had its premiere screening held in the Great Hall of the People in
Beijing. As Ping Zhu introduces in her article, “it was the first time in Chinese film history that a