Chapter 14
Reflections on China and Border Crossings in Jia Zhang-ke’s Unknown Pleasures (2002) and Still Life (2006)
Sean Allan
Born in 1970, Jia Zhang-ke directly experienced the Cultural Revolution only as a young child, but is well aware of its effects because of his family’s experiences. He was raised in Fenyang, a city in Shanxi province in the north of China whose citizens are typical of the rural Chinese who move to bigger cities to find opportunity and provide for their families. Immigrant laborers have limited rights in the city; they are for the most part forced to take work in factories or at construction sites. Jia combines these life and family experiences with the concerns of the previous generation, producing a keen understanding of how people live through and with change—including, importantly, the effects of these changes on individual (subjective) consciousness. Jia is interested in how these concerns with change and the rural-urban divide relate to how those same concerns played out in the past.
The chapter explores the varieties of borders and border crossings in two of Jia Zhang-ke’s films, in order to delineate Jia’s insights into contemporary China and rural Chinese lives. Unknown Pleasures takes place among the aimless young people of Jia’s own hometown, while Still Life (San Xia Hao Ren, 2006) concerns rural subjects more focused on or resigned to dedicating their lives to urban labor. Jia uses borders primarily to show how the changes in China since 1976 have affected the lives of rural Chinese negatively, but also considers the way in which these changes provide some tools to rural Chinese people to help them develop a sense of their own personal identity.
Films discussed in Chapter 14:
24 City (Er Shi Si Cheng Ji). Directed by Jia Zhang-ke. China, Hong Kong, Japan, 2008.
A Better Tomorrow (Yung Hung Boon Sik). Directed by John Woo. Hong Kong, 1986.
I Wish I Knew (Hai Shang Chuan Qi). Directed by Jia Zhang-ke. China, 2010.
In the Mood for Love. Directed by Wong Kar-wai. Hong Kong, France, 2000.
Platform (Zhan Tai). Directed by Jia Zhang-ke. Hong Kong, China, Japan, France, 2000.
Pulp Fiction. Directed by Quentin Tarantino. USA, 1994.
Still Life (San Xia Hao Ren). Directed by Jia Zhang-ke. China, Hong Kong, 2006.
Unknown Pleasures (Ren Xiao Yao). Directed by Jia Zhang-ke. South Korea, France, Japan, China, 2002.
The World (Shijie). Directed by Jia Zhang-ke. China, Japan, France, 2004.
"Xiao Shan Going Home (Xiao Shan Hui Jia).” Directed by Jia Zhang-ke. China, 1995.
Pickpocket (Xiao Wu). Directed by Jia Zhang-ke. Hong Kong, China, 1997.
Yellow Earth. Directed by Chen Kaige. China, 1985.
The chapter explores the varieties of borders and border crossings in two of Jia Zhang-ke’s films, in order to delineate Jia’s insights into contemporary China and rural Chinese lives. Unknown Pleasures takes place among the aimless young people of Jia’s own hometown, while Still Life (San Xia Hao Ren, 2006) concerns rural subjects more focused on or resigned to dedicating their lives to urban labor. Jia uses borders primarily to show how the changes in China since 1976 have affected the lives of rural Chinese negatively, but also considers the way in which these changes provide some tools to rural Chinese people to help them develop a sense of their own personal identity.
Films discussed in Chapter 14:
24 City (Er Shi Si Cheng Ji). Directed by Jia Zhang-ke. China, Hong Kong, Japan, 2008.
A Better Tomorrow (Yung Hung Boon Sik). Directed by John Woo. Hong Kong, 1986.
I Wish I Knew (Hai Shang Chuan Qi). Directed by Jia Zhang-ke. China, 2010.
In the Mood for Love. Directed by Wong Kar-wai. Hong Kong, France, 2000.
Platform (Zhan Tai). Directed by Jia Zhang-ke. Hong Kong, China, Japan, France, 2000.
Pulp Fiction. Directed by Quentin Tarantino. USA, 1994.
Still Life (San Xia Hao Ren). Directed by Jia Zhang-ke. China, Hong Kong, 2006.
Unknown Pleasures (Ren Xiao Yao). Directed by Jia Zhang-ke. South Korea, France, Japan, China, 2002.
The World (Shijie). Directed by Jia Zhang-ke. China, Japan, France, 2004.
"Xiao Shan Going Home (Xiao Shan Hui Jia).” Directed by Jia Zhang-ke. China, 1995.
Pickpocket (Xiao Wu). Directed by Jia Zhang-ke. Hong Kong, China, 1997.
Yellow Earth. Directed by Chen Kaige. China, 1985.
Trailer of the film Unknown Pleasures. (Source: YouTube)
About the author:
Sean Allan received a Ph.D. in English from the University of California, Davis. His interests include post-Vietnam era American literature and culture, transcultural masculinities, and world cinema. He has taught composition, literature and film in Taiwan and both coasts of the U.S. Currently, he teaches literature and film courses in the English Department at Bridgewater State University in Massachusetts, and at Southern Connecticut State University in New Haven, CT.
Sean Allan received a Ph.D. in English from the University of California, Davis. His interests include post-Vietnam era American literature and culture, transcultural masculinities, and world cinema. He has taught composition, literature and film in Taiwan and both coasts of the U.S. Currently, he teaches literature and film courses in the English Department at Bridgewater State University in Massachusetts, and at Southern Connecticut State University in New Haven, CT.