Why is The Blue Kite banned?
But while I was involved in post-production, several official organizations involved with China’s film industry screened the film. They decided that it had a problem concerning its political ‘leanings,’ and prevented its completion.
What is the movie Blue Kite about?
In 1950s China, just after Chen Shujuan (Lu Liping) and and her librarian husband, Lin Shaolong (Quanxin Pu), have their first child, Shaolong is unjustly forced into a labor camp as a result of Mao’s purges. Shaolong dies during his imprisonment, and Shujuan marries Li Guodong (Li Xuejian). But the family faces dire poverty under the Communist regime, and the malnourished Guodong dies. Shujuan and her now adolescent son, Tietou (Chen Xiaoman), must then stick together to survive.
The Blue Kite/Film synopsis
Who is the main character in the story The Blue Kite?
The narrator of The Blue Kite is Tietou (played by Yi Tian as an infant, Zhang Wenyao as a young boy, and Chen Xiaoman as an adolescent), whose 1953 birth occurs early in the film.
Who wrote The Blue Kite?
Xiao Mao
The Blue Kite/Screenplay
What role does kite flying play in the novel?
Kites and everything associated with them (kite flying and kite fighting) are the most important symbols in the novel. Traditionally, kites symbolize both prophecy and fate, and both of these ideas can be applied to characters and events in The Kite Runner.
What happened to the Little Chinese Seamstress?
The Little Seamstress learns about the outside world by reading the foreign books with Luo’s help. She eventually leaves the mountain and everything that she has known without saying goodbye, to start a new life in the city.
How did the Little Seamstress change?
In the months after her abortion, the Little Seamstress uses what she learns from Balzac’s novels to transform herself into a stylish city girl: she cuts her hair into a bob, adopts a Chengdu accent, and makes herself a bra.
Who is to blame for the Little Seamstress running away?
When the Little Seamstress’s denounces her domesticity, she shatters all remaining preconceived notions of stability the boys inhabit. This leaves Ma and Luo with no one to blame except Balzac’s ideals and Red China’s cultural tendencies for forcing the Little Seamstress to defy her culture and her surface identity.