Auto Orientalism and Farewell, My Concubine -

Dai Jinhua, in her analysis of Farewell, My Concubine (Kaige, 1993), laments its ‘dissolution of history into an oriental landscape, into a necessary ingredient in the Cannes Film Festival recipe of Chen Kaige’s fantasy.’ Subscribing to Jinhua’s argument, Farewell, My Concubine can be read as an auto-oriental film.

Figure 1: Young Orientalism 

The oriental landscape is primarily displayed to the viewer through the medium of Beijing Opera. The film’s focus on the traditional artistic movement is no mistake; director Chen Kaige framed the film within this context to add to the oriental nature of the film. Although the subtext attempts to force importance on the changing cultural and political spectrum of China over half a century, Farewell, My Concubine makes no attempt to become a historical epic. Rather, the revolution and uprisings are centered on their lasting effect on the opera industry, framed through the experience of Douzi (see figure 1). There is little proletariat influence; which one might expect to find in a film about a cultural revolution. Indeed, the only appearance of the Chinese working class is to display their obsession with the opera stars. Much like the working class, the Western viewer is placed a similar position of obsession. ‘Which Rey chow defines as an oriental's orientalism exhibits a self display for the voyeuristic gaze.’

Through this gaze, the audience becomes entranced with the brightly coloured costumes, the plot of the opera, and the grueling performance of the Beijing Opera troupe. Moreover, Douzi and Shitou frequently look directly into the camera, breaking the fourth wall (see figure 2) and adhering to the voyeuristic gaze. They are putting themselves on stage for both audiences, the filmic world and real world, to view. 

Figure 2: 4th Wall Orientalism

The blurring of reality and fantasy is foregrounded through Douzi. Notably, Douzi is picked to play the female lead in the Opera - and throughout becomes increasingly obsessed with his own stardom and as Shitou, claims: “becomes Consort Yu.” Douzi’s own preoccupation, and blurring of gender roles, with his character leads to a further level of Orientalism. He has become so entrenched in the orientalism of his persona that he feels now fully attached to his character. For him, the fantasy of orientalism has become a reality.

Figure 3: Auto-Orientalism At Work In Farewell, My Concubine

Whilst Shuqin Cui claims: ‘the orient is made oriental by the occident.’ It is increasingly apparent that Asian filmmakers are utilising the Western Gaze, a technique which is particularly prevalent in Farewell, My Concubine. The film, therefore, pleases not only an East Asian audience, but a global market. Regardless of whether one agrees with Kaige’s technique of auto-orientalism (see figure 3), it has been successful - as of today the film is the only foreign Chinese language film to win the Palme d’or at Cannes film festival.

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