Chinese feudal arranged marriages

我 的 也 我我 我的 我也 我 是 我 是的 CHINESE FEUDAL ARRANGED MARRIAGES 的 是 的 我是也是鲁迅的遗物 的 我 我 我 我 的我 是 的我 我也 我我 的我 是 的我 我也

CONCEPT In final project, I want to express the double shackles of arranged marriage for both women and men in feudal China. I have defined the era of arranged marriages in China as the Qing Dynasty, which I think is the most effective way to show that arranged marriages imply a cannibalistic social system. At the same time, I wanted to add elements of Chinese horror to my project. Because I think the reason why Chinese horror is different from Japanese horror and American horror is that it depicts a woman who cannot escape from an arranged marriage and finally turns into a powerful ghost to claim her life from the people who bullied her in the previous life. The atmosphere I wanted to design is the powerlessness of trying to escape but never being able to do so, only to watch themselves suffocating step by step in the endless shadows of their demise. When I was thinking about how to connect history with reality, I thought of the modern “new arranged marriage” – matchmaking. In today’s society, especially in China, when a woman reaches a certain age, her mom, dad, and relatives around her remind her that it’s time to get married as if every stage of a woman’s life is defined. When to get married, when to have children, when to have a second child, etc. These periods are reminded and pressured by everyone around her. In modern matchmaking, there is also a matchmaker to introduce unknown men and women to each other and get married, just like in ancient times.

In addition, in modern matchmaking and ancient arranged marriages, the people are sharing the same emotions, are forced, is reluctant, is had to compromise. In the eyes of the elders, suitability is an important option for marriage, not love. I think it’s sad that the law of free love established when New China was founded is ultimately a blank piece of paper that can’t break the feudal mindset people have had for so long. In my project, I wanted the women who were forced into marriage and married into captivity to speak, through their eyes, their emotions, their everything, about their powerlessness to change reality. At the same time, I wanted the people who forced arranged marriages to be formed to speak. Their words are like boulders pressing down on the women who are being forced. The audience I want to be changed is those who are still bound by matchmaking because I know I can’t change those deep-rooted feudal ideas.

TYPICAL HISTOR China's feudal society was full of tragic arranged marriages that forced women and men to be imprisoned together. I think Lu Xun's marriage is a perfect example of my Sequential Recut, in which Lu Xun meets two women who represent a collision between two products of the old and new eras. Zhu An's presence was no less mentally stressful for Lu Xun, but it was the same feeling for Zhu An. The marriage of Lu Xun and Zhu An was very harmful to each other, and of course, Lu Xun's inner torment could not make up for Zhu An's wasted life. The wedding of Lu Xun and Zhu An was organized by Zhou's mother. For parents at that time, family, innocence, and ability to give birth were all the criteria for a daughter-in-law, and as long as these three articles were met, it did not matter whether they met or not. So between Zhu An's entry into the family, even Zhou's mother didn't know what she looked like.

ICAL STORIES Knowing that Lu Xun did not like such traditional women, Zhou's mother also proposed to the Zhu family to let Zhu An put her feet up and get an education, but was rebuffed by the Zhu family, so Zhou had to give up. When Zhou's mother gave Lu Xun this marriage proposal, Lu Xun was not even in his hometown. In protest, Lu Xun even stayed in Japan and did not return. Zhou's mother did not give up and pretended to be sick to trick her son into marriage. At a time when the old and new eras were mingling, a generation of intellectuals who had been baptized with new ideas of the new era were coincidentally caught in the quagmire of such marriages. Lu Xun spent most of his life fighting against the \"old society,\" \"old ideas,\" and \"cannibalistic rituals\" that had victimized Zhu An, but he was always enveloped by such an old-style marriage. In the end, he did not hesitate to accept the advanced thinking of Xu Guangping and was freed before Zhu An.

VISUAL EFFECTS I came up with a total of three visual effects to present my Sequential Recut 1. A stop-motion animation to present the process of arranged marriages in ancient China in a present-day setting 2. A series of illustrations to design the similarities and differences between arranged marriages in ancient China and modern matchmaking 3. Using shadow puppets to represent the controlled selves of men and women in feudal arranged marriages

Finally, I chose to use shadow puppets as my visual representation. As one of the traditional Chinese cultures with a long history, the shadow puppets is controlled by the fingertips of the craftsman to make the movements he wants to present. This form of manipulation is the same as the feudal rituals I want to express. The parents and the matchmaker are manipulating two unrelated but identical young people to enter into a cannibalistic arranged marriage, just as the craftsman is manipulating the shadow puppets behind his back to make his \"shadow puppets\" meet his needs.

我 我 的 是 的是 的 我 我也是鲁迅的遗物 我 THE END 我我 我 的我 是 我 的 我 我也 我的 也我 我 我 我的 我也 我 是 是的 我 我