scre

by Andrew
Robulack

The opening scene of Raise the Red
Lantern examines a young woman’s face
as she resolves herself to the knowledge
that she is to become a concubine of an
important Chinese lord. “Do I-have a
choice?” she asks her mother disconso-
lately. There is no visual or intellectual
explanation provided for the tears which
Songlian allows to slide down her cheeks;
the means and reason for this prologue’s
existence is left to the introspection of the
audience. Questions and problems are
subtly introduced here, all of which will be
resolved by the end of the film. In one short
and succinct scene director Zhang Yimou
creates what amounts to hardly more than
avacuum ofinformation whileat the same
time he provides a firm base for the re-
mainder of his film to work off of.

Chinese artists, as has been proven in
their Classical painting and every genera-
tion of their poetry, are masters of simplic-
ityand subtlety. Raisethe Red Lantern
and Ballad of the Yellow River, a fable-
like film by Teng Wenji, are undoubtedly
two of the finest films to have appeared on
the international circuit over the past two
years.

Ballad of the Yellow River explores
an epic tale about two arch enemies: Bit-
ter Herb is a desert porter who is con-
stantly falling victim to the evil of Black
Scalper (any puns and/or symbolism
wrought from these names throughout
the film are intended). These characters’
life-long conflicts are traced beginning to
end in the film, from Bitter Herb’s late
teens to both of their old ages.

The most satisfying element of Ballad
of the Yellow River is Teng’s mainte-
nance of his protagonist’s chastity: Bitter
Herb remains a virgin throughout the
film, actually raising Black Scalper’s un-
wanted daughter from her infancy to her
marriage, and he never kills (except a
horse— again to save the life of Black
Scalper’s daughter). Bitter Herbisa char-
acter graced with undying humility in the
face of his own destiny, though he is not
beyond natural human feelings ofanger or
hatred. At times Bitter Herb appears
purely selfish but he always gives in to his
intrinsic compulsions for compassion.

Bitter Herb does not fit a cast of any
Western-style character; he is neither bad
nor is he totally good. Bitter Herb never
seeks revenge for Black Scalper’s mis-
deeds towards him, as the audience would
feel compelled to have him do. He does
however hold a constant hatred for Black
Scalper. The film ends with a mere visu-
alization of Bitter Herb’s inner satisfac-

eh

tion when Fate deals with Black Scalper;
even then Bitter Herb seems to be wishing
absolution for his enemy.

Bitter Herb’s purity is not for his lack of
want to be otherwise and it does not stem
from any moralist overtones director Teng
may have wanted the film to carry. On
several occasions Bitter Herb attempts to
rid himself of his virgin status and the
passions for revenge he feels towards Black
Scalper are never denied. As the saying
goes, however, Bitter Herb is the victim of
circumstance.

(It may be argued that one night, after
witnessing how a plague has destroyed a
small mountain village, Bitter Herb goes
into the bed of Black Scalper’s former
concubine (the one which bore Black
Scalper a daughter) and makes love to her.
This fact is not ascertained and the event
may not even have occurred: the camera is
not witness to their actions. The scene
exists on a symbolic level representing
Bitter Herb’s return to life and light after
a time of self-doubt and hatred.)

This ambiguity of character is also
present in Raise the Red Lantern in the
protagonist, Songlian, also known as
Fourth Mistress. Songlian enters the
household of her new ‘husband’ with a
seeming innocence about the situation. It
does not take her long to learn that, being
the newest of four concubines, there is
much spite directed towards her and that
various rivalries exist between all of the
concubines. Each night the chosen concu-
bine of the master has all of the red lan-
terns in her quarters lit, is provided with
a foot massage andis allowed to design the
following day’s menu; these privileges are
the source of the concubines’ rivalry, the
master just happens tobe the discriminat-
ing factor who provides them.

Songlian is at first irresponsive to the
conflicts between her and her ‘sisters’. As
the days wear on, however, she finds en-
joyment in the privileges that being the
chosen wife provides and quickly learns to
join the concubines’ games of deceit and
treachery. Ultimately, Songlian is not the
Cinderella character she appeared to be at
the beginning of the film. Again, the
character Songlian is neither good nor
bad, but has the candid quality of being
human.

The realization of both Teng and Zhang
that film is a truly visual medium is re-
freshing; this is a fact that many Western
filmmakers have either forgotten or mis-
represented. Each frame of both Ballad
of the Yellow River and Raise the Red
Lantern contains clarity and intent. As
much as dialogue and action represent the
plot so does each image as the two Chinese
directors allow the camera to enter the
process of narrative-creation. Each framed
instant is built into a portent of the plot as
a whole. Teng and Zheng’s films are prime
examples ofthe removal of the avant garde
in filmmaking and ofa return to a more
purely image-based narrative style of plot
lineation.

In Ballad of the Yellow River the
camera roves endlessly across the expanses
of dry river valleys, supplying the audi-
ence with more than breathtaking cin-
ematography. The sand dunes, massive
gulches and cliff-banks represent Bitter
Herb’s struggle against the meaningless-
ness of his own existence. As the film
progresses and Bitter Herb moves through
a number of conflicts the landscape be-
comes markedly more threatening and
precarious. The movement of Bitter Herb
across the desert seems of minuscules
importance against the desolation of the
plot in reference to him.

In Raise the Red Lantern Zhang manu-
factures claustrophobic cubicles of imagery
which portray the entrapped situations of
the four concubines, each bound into her
own man (literally) made world, their lives
pledged to servitude of the master. There
is no escape and the camera knows it:
constantly the audience is shown frame
within frame of imagery within the total
frame of the screen. The lives of the four
women are buried deep into their roles as
‘concubines.

exhibi

by Brian M. Haley

The Young and the Restless

This past Thursday, April 16, the
infamous "The Young and the Restless’
exhibition opened its majestic doors to
the public and received, undeniably, a
most positive and exciting response from
young and old, established or emerging,
rich or poor, and lastly, drunk or sober.

The show itself proved to be a
promotional coup for all of the artists
involved. All bases concerning the logistics
of the show were perfectly covered by the
members of the group: An immaculate
space located in the downtown sector,
exceptional lighting, a honkin' stereo
system, and more than enough booze.
Many a spectator brought their drinking
lungs to be filled, and f-i-]-]-e-d they were.

The work within the show suited the
taste of every audience member present
and participating; Grease smeared
industrial sculpture from Brian M. Haley,
“Fashion for the funky you" courtesy Drew
Shaffer, leather wit from the office of Raz,
steel and paper sculpture/architecture by
Thor Sunde, Monochromatic paintings
with feminist content from France
Boucher, sublime film from the camera of
Ruben Zbitnew (a.k.a The Machine),

Fabric proliferation from "the house of
hammers" managed by Monika Napier,
and last but not least a chocolately spiritual
performance by Erik C. Miehe.

In all essence, the exhibition was an
entertaining success. The artists received
the attention which they worked hard for,
and the audience's expectations were fully
met. It wasa high-power opening of quality
contemporary art for a glamourous
audience. By the reaction of some of the
spectators "The Young and the Restless”
was a definite tonic to cure the ills of the
stagnant Vancouver gallery and art scene.

By the sound of exhibition coordinator
Brian M. Haley, there will be more to come
in thefuture. "Thisis the mannerin which

tion

art should be viewed and presented in
Vancouver. It is due time for us artists
within the community to stop relying upon
the gallery system as a vehicle to drive our
careers andour scene. Other options must
be considered such as this function.
Vancouver is a cosmopolitan city and
therefore must exercise its international
reputation of being progressive and upbeat.
Culture plays a very big part in that
reputation, but if the real movers and
shakers within the art scene are denied
gallery access due to behind-the-scenes
politics, the cultural standards will decline
even further. There should be no time
granted for bickering over the arts. This
exhibition is a necessary risk, but don't
worry, risks are very healthy. I would lke
to see more people putting on this kind of
event with the aggressive promotional

- strategy and tactics that we have used. It

can be done, we proved it.”

The exhibition will continue till April 26.
Display hours 12-5pm daily (except Sundays)
Location: Robson Court #108-840 Howe Street.
Vancouver (kitty corner to the VAG)

scre

by Andrew
Robulack

‘The opening scene of Raise the Red
Lantern examines. young woman's face
as she resolves herself to the knowledge
that she is to become a concubine of an
important Chinese lord. “Do I-have a
choice?" she asks her mother disconso-
lately. There is no visual or intellectual
explanation provided for the tears which
‘Songlian allows to slide down her cheeks;
the means and reason for this prologue’s
existence is left to the introspection ofthe
‘audience. Questions and problems are
subtly introduced here, all of which wil be
resolved by theendofthe film. Inoneshort
and succinet scene director Zhang Yimou
creates whatamountstohardly more than
vacuum ofinformation whileat thesame
time he provides a firm base for the re-
‘mainder of hs film to work off of,

Chinese artists, as has been proven in
their Classical painting and every genera-
tion of their poetry, are masters ofsimplic-
ityand subtlety. RaisetheRedLantern
‘and Ballad of the Yellow River, a fable-
like film by Teng Wenji, are undoubtedly
twoof the finest films to have appeared on
the international circuit over the past two
years.

Ballad of the Yellow River explores
an epic tale about two arch enemies: Bit-
ter Herb is a desert porter who is con
stantly falling vietim to the evil of Black
Sealper (any puns and/or symbolism
‘wrought from these names throughout
the film are intended). These characters’
life-long conflicts are traced beginning to
end in the film, from Bitter Herb's late
teens to both oftheir old ages.

‘The most satisfying element of Ballad
of the Yellow River is Teng’s mainte-
nance of his protagonist's chastity: Bitter
Herb remains a virgin throughout the
film, actually raising Black Salper’s un-
wanted daughter from her infancy to her
marriage, and he never kills (except a
horse— again to save the life of Black
Scalper’s daughter).Bitter Herbisa char-
acter graced with undying humility in the
face of his own destiny, though he is not
beyond natural human feelingsof anger or
hatred. At times Bitter Herb appears
purely selfish but he always gives in to his
{intrinsic compulsions for compassion.

Bitter Herb does not fit a cast of any
Western-style character;heisneitherbad
nor is he totally good. Bitter Herb never
seeks revenge for Black Scalper’s mis-
deeds towards him, as the audience would
feel compelled to have him do. He does
however hold a constant hatred for Black
Scalper. The film ends with a mere visu
alization of Bitter Herbs inner satisfac-

en

tion when Fate deals with Black Sealper;
‘even then Bitter Herb seems tobe wishing
absolution for his enemy.

Bitter Herb's purity isnot for his lack of
want to be otherwise and it does not stem
fromany moralistovertonesdirector Teng
may have wanted the film to carry. On
several occasions Bitter Herb attempts to
rid himself of his virgin status and the
passionsforrevengehe feels towards Black
Scalper are never denied. As the saying
goes, however, Bitter Herbis the victim of
circumstance.

(It may be argued that one night, ater
witnessing how a plague has destroyed a
small mountain village, Bitter Herb goes
into the bed of Black Scalper’s former
concubine (the one which bore Black
Scalpera daughter) and makes ove toher.
‘This fact isnot ascertained and the event
‘may not even have occurred:thecamerais
not witness to their actions. The scene
exists on a symbolic level representing
Bitter Herb’s return to life and light after
a time of self doubt and hatred.)

‘This ambiguity of character is also
present in Raise the Red Lantern in the
protagonist, Songlian, also known as
Fourth Mistress. Songlian enters the
household of her new ‘husband’ with a
seeming innocence about the situation. It
does not take her long tolearn that, being
the newest of four concubines, there is
much spite directed towards her and that
various rivalries exist between all of the
concubines. Bach night the chosen concu-
bine of the master has all ofthe red lan-
terns in her quarters lt, is provided with
‘footmassageandisallowed todesign the
following day’s menu; these privileges are
the source ofthe concubines’ rivalry, the
master just happens tobe the diseriminat
ing factor who provides them.

Songlian is at first irresponsive to the
conflicts between her and her Sisters’. As
the days wear on, however, she finds en.
joyment in the privileges that being the
‘chosen wife provides and quickly learns to
join the concubines’ games of deceit and
treachery. Ultimately, Songlian isnot the
Cinderellacharacter sheappeared to beat
the beginning of the film. Again, the
character Songlian is neither good nor
bad, but has the candid quality of being
human.

‘The realization of both Teng and Zhang
that film is a truly visual medium is re-
freshing; this is fact that many Western
filmmakers have either forgotten or mis-
represented. Bach frame of both Ballad
of the Yellow River and Raise the Red
Lantern contains clarity and intent. As
‘much as ialogueand action represent the
plot sodoes each imageas the twoChinese
directors allow the camera to enter the
process ofnarrative-creation. Each framed
instantisbuiltintoa portent oftheplotas
whole, Tengand Zheng’ films are prime
examplesofthe removal oftheavant garde
in filmmaking and of a return to a more
purely image-based narrative style of plot
lineation.

In Ballad of the Yellow River the
camera rovesendlessly across theexpanses
of dry river valleys, supplying the audi-
‘ence with more than breathtaking cin-
ematography. The sand dunes, massive
ggulches and cliftbanks represent Bitter
Herb’s struggle against the meaningless-
ness of his own existence. As the film
progresses and Bitter Herb movesthrough
a number of conflits the landscape be-
comes markedly more threatening and
precarious. The movement of Bitter Herb
across the desert seems of minuscules
‘importance against the desolation of the
plot in reference to him.
InRaisethe Red Lantern Zhangmanu-
factures daustrophobiceubiclesofimagery
‘which portray the entrapped situations of
the four concubines, each bound into her
‘ownman(literally) made world, theirlives
pledged to servitude of the master. There
is no escape and the camera knows it:
constantly the audience is shown frame
within frame of imagery within the total
frame of the sereen. The lives of the four
women are buried deep into their roles as
‘eoncubines.

Fabric proliferation from “the house of
hammers” managed by Monika Napier,
andlastbutnotleastachocolately spiritual
performance by Erik C. Miche.

In all essence, the exhibition was an
entertainingsuecess. Theartists received.
the attention which they worked hard for,
‘and theaudience's expectations were fully
met. Itwasa high-power openingofquality
contemporary art for a glamourous
audience. By the reaction of some of the
spectators "The Young and the Restless”
was a definite tonic to cure the ills ofthe
stagnant Vancouvergallery andart scene.

By the sound of exhibition coordinator
Brian M. Haley, there ill be moreto come
inthefuture. "Thisis themannerin which

exhibil

by Brian M. Haley

ition

art should be viewed and presented in
Vancouver. It is due time for us artists
within thecommunity tostoprelying upon

the gallery systemasa vehicle todriveour

‘The Young and the Restless

This past Thursday, April 16, the
is “The Young and the Restless’
n opened its majestic doors to
the public and received, undeniably, a
most positive and exciting response from
young and old, established or emerging,
‘ich or poor, and lastly, drunk or sober.
‘The show itself proved to be a
promotional coup for all of the artists
involved, Allbasesconcerningthelogistics
ofthe show were perfectly covered by the
members of the group: An immaculate
space located in the downtown sector,
exceptional lighting, a honkin’ stereo
system, and more than enough booze.
Many a spectator brought their drinking
lungs tobe filled, and f¥-1--e-d they were.
‘The work within the show suited the
taste of every audience member present
and participating; Grease smeared
industrial seulpture from Brian M. Haley,
"Fashion forthe funky ou" courtesy Drew
Shaffer, leather wit from the office ofRaz,
steel and paper sculpture/architecture by
‘Thor Sunde, Monochromatic paintings
with feminist content from France
Boucher, sublime film from the camera of
Ruben Zbitnew (a.k.a The Machine),

careersandourscene. Other ptionsmust
be considered such as this function

Vancouver is a cosmopolitan city and
therefore must exercise its international
reputation ofbeing progressiveand upbeat.

Culture plays a very big part in that
reputation, but if the real movers and
shakers within the art scene are denied
gallery access due to behind-the-scenes
polities, thecultural standards wll decline
even further. There should be no time
granted for bickering over the arts. This
exhibition is a necessary risk, but don't
worry, risksare very healthy. I would like
to see more people putting on this kind of
event with the aggressive promotional
strategy and tactics that we have used. It
can be done, we proved it.”

The exhibition will continue till April 26
Display hours 12-5pm daly (except Sundays)
Location: Robson Court #108-840 Howe Street,
‘Vancouver (kitty corner to the VAG)