"Love will accommodate, reflect and magnify the trap of gender in economic and emotional relationships. Love is so tempting, it is also that it always hides and Beautifies the deep inequalities in gender relations." - Eva Illouz, "Why Love Hurts : A Sociological Explanation
"Official Lady", the Dilemma of the Construction of the People's Context: "Woman from Java"
Yai’s young, self-explored life, was sold as a “Java woman married to a Dutch official” through a simple, ignorant transaction by her father.The honor of Mrs. Guan gave Yayi a glimmer of hope, and she looked forward to the opportunity to get rid of shame and turn over from gender and ethnic weakness. "Since my father sold me like a product, it became the most expensive item that others could not afford!" She read the newspaper, read books, and discussed her rights with a lawyer. The working class, religious groups and even the protesters all hope to get the help of the lady of the official; "Mrs. Guan", everyone shouts, the crowd context holds the words that are also secretly -They took orders from Yayi, only because of her identity - that is her shining title, but also the annotation of the patriarchal system on Yayi. Since then, how she strives to construct and build self-worth must be attached to this identity.Yayi may understand that he is only an audience used by these people, so she wrote to the writer, hoping to find an ally to speak for her before being betrayed and abandoned by the great history.
The weak and dying Dutch husband's birthday, the fixed-position lens is aimed at Yai, watching her calm and solemn, she is everything, and accepts all kinds of guests. The long shot of a mirror highlights the oppressive feeling that Yayi is staring for a long time—it is a blockade that blocks our chances of approaching her, suggesting that Yayi is physically and psychologically restrained. Factory employees, colonial government officials, lawyers, religious groups... In this diverse living room, the most distinguished value is the independent and respected right to speak. The colonists recited the so-called law and justice to the colony, and Yai’s voice was ignored under the table. Her voice and story could only be expressed by the opportunity of the writer’s visit, but the whole film was the most powerful. Scene.
The colonial country oppressed the skewness of women who were being oppressed by colonies and men, and they continued to perform in the living room of Yayi without answering. In the end, the one-way will of the colonizer rudely succumbed to the self-esteem she tried to maintain and establish; the closed door was forced to open, and the identity of Yayi was as faltering as the empty house and the health of her husband. The end of the film is a long, breathtaking silence. Yai stepped on the soft and graceful dance steps, and the gun in his hand swayed gently, and the momentum became a hollow gunshot.
Just like the condolences in the HBO drama "Western Bliss World", "Music can't resist the piano that created it." How can the anti-antibody itself be based on the identity given by the patriarchal system? The living room is a discourse space for the masses to confuse and lie, how can Yayi get his identity? And what is her identity? Sitting on the sofa listening to the voices of all parties, but the original lively living room only left itself at this time, do not know what they should be. The problems and troubles that the parties gave her can be solved rudely, but the self-worth of Yayi still has no solution.
The Marriage Chamber in the Patriarchal System: "The Bad Woman Mark"
Catherine's sapphire blue dress is like a heavy cloud, drifting in the bleak home; she is the heaviest ornament in the house. Her work and dressing were performed according to the table, and time was like a quiet dust falling on her shoulders, and she swayed and fell as she slept. Catherine, who loves the outdoors and the fresh air,Now the world with only four sashes can be seen. Her likes and dislikes, interest was removed, and the whole life was squeezed into a neat and beautiful vest and skirt. But those unacceptable faces discarded by the husband and the father-in-law will not lie in the darkness; they will bubbling into the unconscious, and when the time comes, they will vent their arbitrarily. At that time, it happened to come to Catherine's door when her husband went out.
The "Evil Woman Mark White" was changed from the Russian writer Leskov's short story "Mrs. Mark White of Mozambique", which is also reminiscent of Mrs. Mark White in Shakespeare's famous "Mark White". Shakespeare's Mrs. Mark White disgusted, spurned the weak, dragged her negative traits, and tried to climb the high level of the patriarchal system, but fell heavily because of her moral conscience. Catherine of "The Bad Woman Mark White" seems to be equally cold-blooded and cruel, but what drives her is not to imitate the power status of the patriarchal system, but the most feminine and irrational Gothic love.
Catherine imprisoned her home and applied a "plague" called love to all the people who oppressed her in the patriarchal system to bury the marriage. French sociologist Eva Illouz writes that love will accommodate, reflect and magnify the traps of gender in economic and emotional relationships. Love is so tempting, it is also that it always hides and Beautifies the deep inequalities in gender relations. (From "Why Love Hurts: A Sociological Explanation") Catherine's love is not a solid feeling. It is a mirror of the demon, reflecting the autocracy and violence of the husband and the father-in-law, magnifying the crucifixion of Catherine, and a freedom The trap of the bait.
At the end of the film, Catherine walked back to the empty city house and sat back to her standard sofa position. She stepped on the bloody pace to tear down the marriage chamber, but each step fell into a deeper hell, like a loop of mutual involvement. When she removed the last wall, she found herself facing the origin of the beginning, alone. The evil in the evil woman Mark White is not Catherine's madness to love and freedom, but the marriage under the patriarchal system, the viciousness of true love and freedom.
The freedom that does not exist in the transaction, the desert that cannot be found: "Her story is not finished"
The wind and sand blows through the smoky vines in the central United States, and the skinny girl is dressed in a waiter uniform and walks to the small restaurant where she works. At the age of seventeen, Katie earned money to raise her mother and her dream of going to San Francisco to study hairdressing. But this is not the American version of the orphan woman's hard work, nor is it a self-reliant and sunny girl who brings inspirational stories; in this vast and endless land, the future cannot be seen. The vast space is like a closed playground. Katie spreads goodness, beauty and dreams, but the crowd around it has already rusted.
In order to save money to go to San Francisco, in order to have mobility in this desolate town, there is a secret agreement between Katie and the man with a car in the town called "Hitchhiking", which is a sexual transaction. The cars that come and go are like sub-spaces that move. When Katie is "invited" to get on the bus and exchanges money and freedom of movement with physical autonomy, he is actually kidnapped by an invitation with exchange. Behavior in the name of a transaction seems reciprocal, but when Katie decides not to make money through the flesh, almost all "customers" are reluctant to respect her choice. The body as a container of one person is the basis for letting social behavior penetrate into consciousness, and is also the channel through which the self can get along with the society. (John O'nell "Five Body") Faced with these men, Katie does not have real autonomy and boundaries. The mobility and direction she gets from them is always only in the town; it is not possible to sail to the exit. In his own right, the practice ability of imprisoning and leaving, "going to San Francisco" has become an illusory and unattainable expectation.
The operation of the town has long since failed. Katie’s money from the townspeople is more like the amusement park tickets in the amusement park. It is gradually exhausted in the closed system and cannot escape the gate of the amusement park. When she walked alone on the industrial road, the huge truck whizzed past, the sense of oppression and her own thinness, like the weakness of her destiny. If she encounters a kind of "professional exploitation" in disguise, she sees the power structure in the transaction; but this structure is not just a binary opposition between sex trading and class, but more ubiquitously permeates every corner of the town. Katie and the boss, friends and family interact with each other; she must be willing to see through and give up the money and freedom built on the power structure.
At the end of the film, after walking through countless deserts, she reached out for the first time to take the initiative to stop the car - pre-viewing the "transaction" that was almost certain to happen again, but could not predict the direction that Katie would decide to walk next. She understood that she had to leave the town, and that the townspeople did not care for the goodwill garden vouchers for the dust. After embarking on the real road, they did not hesitate.