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Essay / Research Paper Abstract
Directors Zhang and Goren address the metaphor of prison in their films, Raise the Red Lantern and Yol by addressing the issue through the lens of society, politics, sex and traditions, both society and family traditions, including the relationship between husband and wife. Bibliography lists 3 sources. jvRLntrn.rtf
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including the sociopolitical, traditional (geopolitical), and sexual. The directors chose different ways and means to express the metaphor in these two films, and they also chose some similar cinematic landscapes
to bring across their message that societies are prisons, just as any jail cell is a prison. In the end, both films offer the same judgment on Chinese and Turkish
societies. Both films open with the images of the expectation of prison versus individual independence, and therefore, establish the theme of what truly
constitutes a prison. In Raise the Red Lantern, Songlian (Gong Li) is on her way to a new life of luxury and food and all the things shes been living
without while pursuing her hopes and dreams. She knowingly gives up her well-planned life to beat poverty by marrying a rich man. From the beginning, she knows she is trading
freedom for a prison, but she has no idea the extent of her imprisonment. This is her choice, and in the course of the film, Songlian learns how her choices
make the prison. This same sense of freedom and independence (that will be dashed) is also what occurs in the first scene
of Yol. This story, instead of focusing on four wives as in the Zhang film, focuses on the choices that will be made by four common criminals who are being
let out of prison, on leave, for a visit home. What they find at home is more devastating than the physical cells they have left and will return to. They
also find that their prisons are entrenched within the Turkish societal mores and norms. Introduction
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