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A semiotic view of symbol and identity in the film Farewell My Concubine

Bibliographic Data

ID22023006
AuthorsWenxi Zhu (0000-0002-7086-2509, Dalian University of Foreign Languages , Dalian , China), Wenxu Zhu (0000-0002-7367-3754, Dalian University of Foreign Languages, corresponding author)
Year2024
Volume20
Issue1
Pages95-111
Publication date2024-02-26
Open AccessYes
TypeARTICLE
VenueChinese Semiotic Studies (JOURNAL)
Journal identifiersISSN: 2198-9605 • E-ISSN: 2198-9613
PublisherWalter de Gruyter GmbH (PUBLISHER • DE)
DOI10.1515/css-2024-2006
OpenAlexW4393189108
LanguageEN
Citations received1
References cited2

Adapted by Li Bihua and Lu Wei and directed by Chen Kaige, Farewell My Concubine was first released in mainland China and Hong Kong in 1993. It gained strong momentum and went on to break the box office for mainland Chinese literary films in the USA. Against the background of traditional Peking Opera culture, the film spans nearly half a century and follows the love–hate relationship between Cheng Dieyi, played by Leslie Cheung, and Duan Xiaolou, played by Zhang Fengyi. It shows the changes in human nature and the rise and fall of classical art in the city of Beiping in different eras. Taking “symbols” as the entry point, this paper analyses and explores the characteristics of the cultural symbols and metaphors that accompany the main narrative line of the film so as to further trace and understand the multiple interpretations that “anti-identity construction” brings to the film, as well as the ethical implications reflected in the symbols

Aesthetics · Art · Art history · China · Linguistics · Literature · Mainland China · Movie theater · Narrative · Opera · Semiotics · Semiotics of culture · Zhàng · History · Hong Kong and Taiwan Politics · Philippine History and Culture · Philosophy

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Citations per year1
Citation span2025 - 2025 (1)
Highly citedNo

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