King of Masks: The Myth of Miao-shan and the Empowerment of Women
King of Masks represents a particular type of mythic film that includes within it references to an ancient sacred story and is itself a contemporary recapitulation of it. The movie also belongs to a further subcategory of mythic cinema, using the double citation of the myth—in its original integrity...
| 1. VerfasserIn: | |
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| Medienart: | Elektronisch Aufsatz |
| Sprache: | Englisch |
| Verfügbarkeit prüfen: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Veröffentlicht: |
2012
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| In: |
The journal of religion and film
Jahr: 2012, Band: 16, Heft: 1 |
| weitere Schlagwörter: | B
Women
B Miao-shan B Myth B Religion Motiv B China B Confucianism |
| Online-Zugang: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a King of Masks represents a particular type of mythic film that includes within it references to an ancient sacred story and is itself a contemporary recapitulation of it. The movie also belongs to a further subcategory of mythic cinema, using the double citation of the myth—in its original integrity and its re-enactment—to critique the subordinate position of women to men in the narrated world. To do this, the Buddhist myth of Miao-shan, which centralizes the Confucian value of filiality, is re-applied beyond its traditional scope and context. Thereby two prominent features of contemporary China are creatively addressed: the revival of interest in Confucianism and the growing concern about the declining number of female births to male ones. | ||
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