Urban Landscape and Demolition (Essay Sample)

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Urban Landscape and Demolition
China is the most populous country in the world and conservative in terms of culture as well. Chinese film directors developed a trend in their production in 1990s and somehow extended to early 2000s. The trend was referred to as the new urban cinema (Braester 161). The approach deployed by these directors made such films adorable across generations, and some were general exhibition movies. The films had a blend of contemporary and traditional issues that antagonized each other at some point in the film. Most significantly, the films’ directors’ lines of thoughts and film storylines were influenced by what was taking place in the Chinese society. Modernization of structures, especially buildings, in towns and cities provided major themes for films in 1990s through early 2000s (Lu 137). As the Chinese government oversaw the demolition of old buildings to create space for new and modern structures, the films’ directors saw the opportunity to artistically and visually either to support or to criticize the new developments.
Capitalistic ideas captured the post-socialist China with a storm as commercialization took root in the country and acquisition of private and public spaces soar each day (Lu 138). Whereas new spaces and subsequent construction structures were taking shape, it was also symbolic in nature. The demolition symbolized erosion of traditions as the society embraced new ways of life. These new generation directors and film production crew use films to engage the Chinese society into the debate surrounding the destruction old structures and construction of new buildings (Lu 140). In addition, filmmakers want to be involved in the preservation of the old landscapes before they vanish under the urbanization (Braester 162). According Braester (163), a new generation of film directors scrambles for a piece of the old city before it is turned into construction sites.
I have chosen two films produced two decades apart to illustrate urban landscape and demolition in Chinese movies. The first film is Shower directed by Zhang Yang and released in 1997. The second film is Tai Chi Hero directed by Stephen Fung and released in 2012. Both films have elements of demolition and reconstruction. The two films display future ideas presented by the proponents of modernization and antagonists who will stop at nothing to maintain the landscape or traditions they know and accustomed to. I have used various themes to bring out the urban landscape and destruction of the society. Let us begin with Tai Chi Hero, which is a martial art film revolving around the life of Tai chi master Yang Lu Chan, who finds his way into Chen’s village where everyone is a kung fu master in their own rights. However, he cannot learn what can save his life because he is not from the Chen clan. The village is also under threat from a foreign company Indian Construction Company that wants to demolish the village to pave way for the construction of the railways using a monstrous steam-powered machine the villagers refers to Yuniang. The Shower is about modernization of Beijing and the family of Master Liu that represent the traditions and cultures under threat by the new waves of developments in the country. Master Liu runs a bathhouse business and has two sons Da Ming and Er Ming with Er being retarded and the father’s playmate. Da Ming seems to have family issues with his wife back in the city.
Zhang Yang and Stephen Fung have both the similarities and differences in demonstrating the landscape and demolition of old structures to allow creating new ones. The structures for demolition are both symbolic and actual. In Tai Chi Hero, Chen village and people’s traditions are under threat. Master Chen rebellious son, Zai Yang, is a symbol of demolition of the traditions and introduction of new technologies and cultures. In fact, he hates kung fu being practiced and preserved by his clan. He fakes kung fu moves by using mechanical gadgets. Instead, he chooses electronics, something that seems strange to his father and for that, he went to live in the city. The testing of various cannon by the emperor’s guards also marks a new beginning in weaponry. It is disastrous for Chen’s village kung fu fighters to face an army equipped with cannons. The blasts almost level the entire village prompting Master Chen to surrender himself to the authority. The introduction of an airplane denotes modernity and creativity Zai Yang has always pursued with intent. A flying plane is very new in the society, and it is referred to Heaven’s Wings.
In the Shower, like Master Chen, Master Liu has two children, and the older son Da Ming chooses to do business in the city. Da Ming’s city life symbolizes the reconstruction of social structure in the society and the acceptance of the new way of life by the younger generations. Whereas Yang chooses to antagonize his father’s role as the clan elder, Da Ming supports his father’s role and position in the society. In addition, the presence of Lu Chan in Chen village is a sign of imminent changes in the traditions as no outsider is allowed to learn Chen’s kung fu. His quest for the lifesaving martial arts faces opposition from the entire village, especially the elders who see granting such wish goes against their t...