"Jinling Thirteen Hairpins" has a very unique name. If it is renamed "The Battle of the Virgin", it would be too spoiler, because the main line of the whole movie is this: in the Nanjing Massacre, various colors Everyone worked hard to protect a group of female students from the Japanese army's "ravaged". In the end, the generosity of a group of prostitutes and a little boy in exchange for the salvation of the female students and their newly recognized "father"—the white false priest, and the virgin’s defense success.
The female students' appearance led to the death of a bunch of soldiers who wanted to protect them, which set the tone of the whole movie: their frightened little bodies are worth defending with their lives. A surviving soldier solemnly returned one of their lost leather shoes, as if he had completed a military service. In the following fate to save these girls from rape and tragic death, he satisfactorily sacrificed his masculine heroism. These girls quickly found the next male protector. Using the imposing name of "father," they succeeded in letting a white prodigal who broke in accidentally take on such a responsibility.
The deliberately exaggerated cheerfulness of prostitutes when they appear is an ominous signal, because this untimely vitality is suitable to be destroyed by a popular movie to provide tragic consumption. Their beauty belongs to the 1930s imagined by contemporary times: red lips, finely trimmed eyebrows, drawn eye corners, fluffy and regular curly hair, colorful silk cheongsam... They are living month-brand beauties. It is made by the director borrowing contemporary nostalgic legends about the "Republic of China", and the femininity that is carefully scrutinized by the camera is enough to support the viewing value of the entire movie. They let a bleak slaughter background become a stage of sexual charm, the white male protagonist is fascinated, the little boy is at a loss, the female students are peeping, secretly admiring, and self-rejecting-even more under the background of prostitutes Shows the true qualities of a virgin.
The most active in the film are the white male protagonist Bell and the leader of prostitutes Yumo. The sex game between the two in English strengthened his superiority as a "foreigner", and when the two turned to talk affectionately, what was evoked was a consensus on the necessity of protecting female students: he has a young daughter She died at the age of the female students, and she was raped at the age of the female students, so she lost her future and became a prostitute. This plot implies that he should be the "father" of these little girls to make up for the shortcomings in life, and she, under the beautiful and arrogant appearance, should have been so embarrassed-losing virginity is the point of a woman's value and cannot be ignored.
The intimidation of the Japanese once again shows that virginity is a hard currency recognized by everyone. Yumo initiated a campaign to accept rape in place of female students among prostitutes, on the grounds that these female students could not stand rape and would not survive after being raped, and "we have seen all men"-the same women, why are prostitutes Can you care about being raped? The only reason is that they have no virginity, so rape is not a harm. This kind of lame rhetoric that has been freed from the crime of rape for thousands of years has been re-justified because it was spoken through the mouth of a woman. Moreover, these women who were trampled to the end because of their sexual stigma and could not even enter the virgin's latrine saw an opportunity to reshape their dignity within the framework of mainstream morality, that is, being a "bitch" and being a "sentimental" Show people what is righteous. For this opportunity, they are willing to die. When moral cleansing is regarded as more important than life, in the eyes of the director, these women who did not know the hatred of subjugation have been sublimated.
The prostitutes finally showed their enchanting demeanor with their singing and dancing performances, but when they bid farewell to enchanting and began to change into plain female student dress, they were so surprised that they even thought that their mother would be happy-for this to redeem the crime of corruption. Transformed, they were deeply moved by themselves, but how could the female students feel so at ease, just screaming "elder sister" bluntly? They didn't even ask the names of the women who died for them, let alone prevent them from doing so. These female students, who were protected by their incompetence and only shed a few lines of tears, believed that this replacement was justified. Perhaps this is the most terrifying part of the whole movie: it uses chastity as the boundary, which separates women's sympathy and empathy.
The director also left two rifts, reminding Bell of "God says all men are equal", and made a prostitute struggle and cry before leaving, "I am not a schoolgirl, I don't get in the car." However, these two settings are far from enough to reverse the context of the entire plot. When the disappeared prostitutes reappear in the imagination of female students, the mourning is still being pointed out. They are destined to be destroyed and tragic characters, because, Their outgoing and free sexual charm stems from infidelity-the so-called "rape and close killing", let the liberty die in confession and the soul is rescued is the most old-fashioned script. The female student and Bell who fled outside Nanjing should sing Tang Seng's song in their hearts: "Send you to death, I will recite the scapegoat."
In the traumatic memory of the Japanese invasion of China, the brutality of women being raped is always highlighted. They were injured and killed, but the sexual shame was borne by the whole nation—the country, the nation, and the men did not protect it and them. The woman is ashamed. This irreparable sense of shame has always been a burden that cannot be thrown away when the national pride desires to rebuild, although the shame has also turned into unforgettable hatred, which has become one of the nourishment to strengthen national identity. However, the accusations and narratives were only at the moment when the Japanese army raped them. After that, there are no more stories of rape survivors, as if being raped is the end of their social life. In fact, this end is the beginning of another abominable truth, that is, the women who were raped by the Japanese army in the past were treated as materials for national prosecutions, but at the same time, because of "losing their virginity", they began to bear the people themselves from the community. Discrimination, and this truth has rarely been told in the past half a century, let alone recognized and reviewed by the entire country. This extreme oppression of the voice of survivors and extreme shame of sexual violence are two sides of the same thing. Looking at "Jinling Thirteen Hairpins" in this context, it can be seen that it is actually another attempt to save itself from the national shame. It is baptized by amplifying and deducing this shame with the tone of endless grief and anger, and by proving the country and the nation. He and men have done their duty to save the "good women"; it is also another oppression-by portraying the victims as a group of "voluntary" bad women. In short, women symbolically healed the unhealed national self-esteem, and through the operation of popular blockbusters, they also provided an opportunity for the audience to watch the beauty of violence and consumer victims in fear and sorrow.
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