Ezra and Rowden suggest that Transnational cinema “comprises both globalization…and the counter hegemonic responses of filmmakers from former colonial and third world countries” (2006, p.1). They suggest further that “the Transnational can be understood as the global forces that link people or institutions across nations” (2006, p.1).

Ang Lee, the director of Crouching Tiger Hidden Dragon, Broke Back Mountain, Hulk, Lust, Caution and Gemini Man; is known for his emotionally charged work that explores conflicts and relationships between tradition and modernity, in both Eastern and Western contexts.
It is because of his stories dealing with many hidden and repressed emotions that lee is known for his emotionally charged work, which critics believe is responsible for his success in off-setting cultural barriers and achieving international recognition.

The themes present within Crouching Tiger Hidden Dragon have allowed it to be an international success due to its stylistic approach to framing, composition, lighting, photography, direction and performance.

Deeply rooted in Chinese tradition and history, the use of mise-en-scene allows for an intimate or “real” perspective, allowing Western audiences to empathize with its characters.
Costumes allow the audience to understand the different roles and hierarchy within the film.
Martial Artists, Li Mu bai and Yu Shu lien are clothed in single-wrap fighting robes, whereas Jen clothed in royal gowns and a dark wrap for her and Jade Fox as the villains/thieves.
The lighting is not deliberate throughout the film, in that it is said that Ang Lee wished to disguise the personalities of the characters without high-key or under-lighting; making it difficult to tell who is good and who is bad.
As we can see in the below example, it’s difficult to decipher who represents which side:

After watching Hero and familiarizing myself with its inception, I found it interesting to note that because Zhang Yimou was committed to making his films in China and aspiring to reproduce the formulas that gave Ang lee’s film’s international popularity, he also misread the reasons behind the making of Crouching Tiger Hidden Dragon.

To appeal to a wider Western audience, the use of special effects was implemented to create a seamless air throughout, teamed with wind machines to enhance the characters fluidity within the space and their grace.

Zhang worked hard in creating relationships with the Chinese Government and authorities and once restrictions eased because they realized the importance of foreign film distribution to their economy, Zhang came under fire following the release of Hero due to his choice of Emperor, it’s lack of resolve and its unknown agenda.

As briefly discussed in class, Hero is clearly a nationalist film and Zhang’s close relationship with government authorities led many to believe that it was a propaganda film.

Both film fall under the Wuxia film genre.
‘Wuxia‘- which literally means “martial heroes”, is a genre of Chinese fiction concerning the adventures of martial artists in ancient China.
Uncommon to Western society is the dominant female roles and action heroes that have deep roots in Chinese history.
One can imagine how shocking and inspiring it would be as a Western Audience to view.

Without doubt, Hero is a film undoubtedly rooted in patriarchy.
The king is read as a positive authoritative figure, no doubt confusing to the Chinese populus who knew of his history.
He has the gift of wisdom, deciphering the meaning behind the Calligraphy and reading his assassins “murderous intent” most notably possessed by father figures.

As opposed to the themes present in Ang Lee’s, Crouching Tiger, the women’s roles are personalized through subjective camera angles and an engaging love story.

By comparison, Zhang attempts to capitalize on the love story, making it a focal point, whereas Ang Lee chose to give women freedom through expression, shown in their ability to seamlessly move in and out of the fighting realm.What I found interesting about Hero was the interplay between love and violence and how both are presented to be on an even playing field.Shown through White Snow’s under-handed wounding blow to broken Sword and the forgiveness of China’s most treacherous emperor’s; who goes on to kill hundreds of thousands more because of the love and conflict felt by Nameless and Broken sword before him.
Hero takes us through these conflicts and emotional trials and tribulations through his implementation of color in costume, lighting and setting.

Red, Blue, White and Green play out, painting the films narrative with a not so clear description of their meanings.
As was stated in a class discussion, Asian cinema, most notably Chinese cinema, does not shy from the use of bright colors.
In Western cinema, the use of color is often seen as tacky and distasteful.
Quoting Naya, ‘the more successful a superhero movie, the less colorful it is.’
The purpose behind the obvious coloring of each of the scenes was to possibly help reach a broader audience, playing on the basics of color psychology;

Red – anger, passion, vengeance, jealousy
Blue – calm, tranquil, cold, understanding
White – neutral, defeat and traditionally the color worn when someone dies (not generally known by Westerners
Green – hope, natural, compromise, jade (strength)

Not only do the colors make it easier to decipher the onscreen unfolding’s but the actor’s gestures, movements and expressions help feed the narrative too.
Overall, the movies both share and weave traditional and modern themes throughout their story lines, executing their stylistic approach with a grace that serves to conflict, surprise and unite a global audience.
As the characters glide through the air in heated battle, they exhibit the poetics and artistry behind violence, love and conflict, serving as a foreign concept to a global audience that knows only of the rigid confines of good and bad, with a single patriarchal victor.

References:

Chen Xihe. ” On the Father Figures in Zhang Yimou’s Films: From Red Sorghum to Hero” Asian Cinema. Vol. 15, No 2 (Fall/ Winter 2004) pp. 133-140