Gender Inequality as Family Drama in Ang Lee’s Eat Drink Man Woman By Kristin Weaver Professor Shiamin Kwa East Asian Languages and Cultures Department Bryn Mawr College December 8, 2015 Abstract In this thesis, the primary source of my analysis lies with Ang Lee’s film, Eat Drink Man Woman, which was released in 1994. In this paper, I maintain that in Eat Drink Man Woman, Ang Lee’s depiction of the clashing between modernity and tradition allows for him to redefine the definition of success; thusly turning away from the traditional gender expectations of Taiwanese society and towards personal fulfilment. Through analysis of tradition and modernity as it appears in the film, I examine how Mr. Chu and each of his daughters find success despite the gender expectations within which they exist as a turning point in the understanding and interpretation of tradition, especially as it applies to sexism, in Taiwanese society. To gain a better understanding of the operation of sexist ideologies in Taiwanese society during the time at which Eat Drink Man Woman is set, I took a socio-historical approach in exploring the main socially embedded manifestations of patriarchal beliefs in Taiwan, looking at language, depictions of gender biases in the Taiwanese media and music industry along with the participation of women in the Taiwanese workforce. Thus, with this film, Ang Lee was ultimately able to flip normative understandings of traditional Taiwanese gender constrained definitions of success on its head. In the many years that have passed since the film’s release, it is found, however, that the struggles of the women in Eat Drink Man Woman are felt in Taiwanese society today, evidencing that Ang Lee’s message on the attainment of success has ultimately gone unheeded by modern Taiwan. Weaver 1 Ang Lee and Eat Drink Man Woman Renowned Taiwanese director Ang Lee's career is one that makes a case for the belief that an abundance of experience and effort does eventually lead one to find fame. With a total of twenty-three awards to support his directorial skills, Lee has shown the world that artistic film expression and favorable box office numbers are capable of going hand in hand.1 From The Wedding Banquet and Pushing Hands to Ice Storm, it is clear that Lee's interest lies is getting into the depths of issues that everyday people must contend with. A number of his films explore issues such as gender norms, women's societal roles, social conflict and self-discovery. His films are important because they do not alienate audiences, as others do, but instead bring them together. Regardless of any language barriers that may exist between his films and his viewers, Lee's works have a way of connecting audience members on a deeper level because of their exploration and depiction of issues and ideas that speak to viewers on a universal level.2 Generational conflict, hiding one's true self, longing to break free from familial or societal constraints—these are all concepts that everyone can identify with. His third film, Eat Drink Man Woman is one that especially explores the ideas of generational differences and their relation to traditional roles. The focus of this thesis will be on Lee's film Eat Drink Man Woman or 饮食男女. Released in 1994, this film follows the lives of a long-widowed Taiwanese master chef and his three adult daughters as they attempt to live their lives while circumventing familial and societal 1 Arp, Robert, Adam Barkman, and James McRae. 2013. The Philosophy of Ang Lee. Lexington: The University Press of Kentucky, pg. 14. 2 Arp, Robert, Adam Barkman, and James McRae. 2013. The Philosophy of Ang Lee. Lexington: The University Press of Kentucky, pg. 14. Weaver 2 pressures. Set in bustling 1990's Taipei, Eat Drink Man Woman more specifically follows this master chef, Mr. Chu, and the conflicts he has with his three adult daughters and their life choices. In an attempt to repair his relationships with them that have all but broken in the years that have passed since his wife's death, Chu ultimately tries to communicate with them in the only way he knows how—food. An aspect that is incredibly crucial in this piece, Deborah Lupton perfectly encapsulates its thematic significance in Eat Drink Man Woman, “Food and eating practices are banal practices of everyday life; we all, as living beings, must eat to survive. Food and eating habits and preferences are not simply matters of ‘fuelling’ ourselves, alleviating hunger pangs, or taking enjoyment in gustatory sensations. Food and eating are central to our subjectivity, our sense of self, and our experience of embodiment.”3 Food is the central pillar that both supports and hinders Chu’s relationships with his daughters. Furthermore, in this film, Lee explores the notion of family as a burden and the effect it has on one’s ability to achieve success in any of its multiple forms. The film depicts these conflicts as a clash of modernity and tradition as Chu struggles to accept the ways in which his daughters go against Chinese tradition. Though littered with surprising and strife-filled moments, Eat Drink Man Woman ultimately ends with each of Mr. Chu’s daughters finding different levels of success and fulfillment. Even though some might see the individual successes of his daughters as complying with gender norms, Lee maintains that success, in its best form, should be measured personally rather than professionally. Thus, Eat Drink Man Woman is significant not only for its unique portrayal of the breaking down of gender stereotypes, but also for how it relates this depiction to the concept of the clashing of tradition and modernity—to change. In Eat Drink Man Woman, Ang Lee ultimately redefines the 3 Lupton, Deborah. Food, The Body, and The Self. London: Sage Publications, 1996. doi:9781446264157. Weaver 3 notion of success with his depiction of the contrast between modernity and tradition. This essay will use Eat Drink Man Woman both to demonstrate what contemporary Taiwanese gender roles were like in the mid 1990’s and to present Ang Lee’s message of personal satisfaction being more significant than following the societally set success paths which are restricted by such gender roles. This paper will do this by first using the work of sociologists and historians such as Catherine Farris, I-Ching Lee, and Jocelyn DeHaas to show what the dominant gender situation was during this time period. I will then present a close reading of the film that will show how those existing gender ideologies are challenged by this particular domestic story that Ang Lee presents. First, I will conduct a close reading of several scenes that will show the basic plot concerns about the film and then I will provide socio-historical background about the larger anxieties going on in urban areas of Taiwan at this time. Then, I will return to scenes that demonstrate Ang Lee’s suggestion on how one should measure success through analyzing key scenes from the film. An Exploration of Modernity versus Tradition in Eat Drink Man Woman Continually, in Eat Drink Man Woman, it does not take long for one to see that one of the film’s main themes will concern the struggle against change and the past. The fight against tradition and modernity is one that has been going on since time began and 1990’s Taiwan is no different. From the opening scene alone, viewers are quickly able to see the contrast between tradition and modernity. Ang Lee opens Eat Drink Man Woman simplistically. In the film’s first few seconds, the initial shot fades in as offscreen urban ambient sounds are heard simultaneously. As the black screen gives way to visuals, audiences first see an aerial medium- long shot of the frantic chaos of the modern daily commute in Taipei. The speeding commuters Weaver 4 are shown in their entirety with a high angle that eventually that appears to be looking down on them. The camera does not move, but merely tilts downward from a higher angle as the film title appears, thus providing an omniscient perspective at the chaos taking place below; allowing for a level of detachment from the activity taking place. The continuity editing used to create this scene suggests that this is almost a documentary-like recording of the Taiwanese daily traffic. Another interesting aspect to note is how the way in which the film’s title is displayed is in itself an indicator of this main theme as Eat Drink Man Woman’s Chinese name (饮食男女) appears written in two different forms of Chinese script. 饮食 in traditional Chinese characters, and 男女in Seal Script (which predates traditional, Standard Chinese characters by a large amount) as seen below in figure 1.4 Fig. 1. Change Meets Tradition 4 Eat Drink Man Woman. 1994. Directed by Ang Lee. Performed by Sihung Lung. Taipei: Ang Lee Productions, Central Motion Pictures, Good Machine. DVD. 0:30. Weaver 5 Another way in which this comparison between modernity and tradition is displayed in Ang Lee’s film is through the act of cooking, especially when concerning that of its patriarch, Mr. Chu. Eat Drink Man Woman largely portrays the master chef as a very traditional man, as exemplified through his culinary methods. Take for instance, the film’s second scene. The audience is introduced to the chef quite vividly as they watch him make preparations for his traditional family Sunday dinner banquet. Beginning with a high angle shot on the exterior of the Chu household, the scene immediately cuts to Mr. Chu’s hands with a close up shot as he catches descales and guts a fish for the upcoming feast with his bare hands. The scene alternates between close ups on his face and his hands as his culinary skills are displayed. As is done multiple times throughout the film, Lee utilizes narrative cueing to mark Chu’s entrance into the scene with the playing of traditional Chinese instrumental music. This not only reinforces the theme of tradition versus modernization but helps to establish Chu as representative of the ideal of tradition itself. From the portrayal of Chu boiling frogs and slaughtering chickens to individually cutting fish into fillets, it is obvious that buying these items pre-made from the store is not an option. In Eat Drink Man Woman, the director’s initial contrast between the bustle of the city to the stillness in the Chu household immediately after gives audience another example of the struggle of progress versus the past. Thematically, it portrays the urban traffic to represent the idea that time only goes forward and that the world exists in perpetual motion. Cutting to the quiet household of Chu immediately after merely serves to show that Chu’s insistence on tradition is what ultimately prevents him from moving forward and remain entrapped within the confines of tradition. Furthermore, the audience’s introduction to Chu and other cinematic cues in the film serve to show Chu’s character as an embodiment of the concept of tradition. This is made unmistakably Weaver 6 clear in the scene in which he drunkenly tells his closest friend and colleague, “Eat, drink, man, woman. Basic human desires. All my life, every day, that's all I've ever done. It pisses me off. Is that all there is to life?” (“饮食男女人之大慾， 不想也難。哎，忙活一 輩子就為這個？想了氣人，好滋味誰尝過?" )5 What is significant here is the simplistic way in which Chu compartmentalizes the aspects of living that he believes are the most crucial. Unlike his daughters who are growing up in a rapidly changing society, all his life he has lived according to these basic human desires, never daring to desire more and reach for complexity. Chu’s life view here stands in stark contrast to the modernization that is taking place all around him. Continually, due to the fact that one of the main focuses of this film is on food in its various forms, it should come as no surprise then that food is used to convey the struggle of modernity and tradition. For instance, in the scene when Mr. Chu first brings Shan Shan a home cooked lunch at her school, audiences see the enviable appearance of the lunch box Chu prepared sitting next to the listless looking fast food Shan Shan previously bought, which more than pales in comparison, as shown in figure 2.6 5 Eat Drink Man Woman. 1994. Directed by Ang Lee. Performed by Sihung Lung. Taipei: Ang Lee Productions, Central Motion Pictures, Good Machine. DVD. 23:50. 6 Eat Drink Man Woman. 1994. Directed by Ang Lee. Performed by Sihung Lung. Taipei: Ang Lee Productions, Central Motion Pictures, Good Machine. DVD. 33:16. Weaver 7 Fig. 2. Chu brings Shan Shan a more superior lunch. As Chu later tells a co-worker who attempts to coerce him out of retirement, “People today are so insensitive. They can't appreciate the art of exquisite dining.” (“人心粗，吃的再精也没什么意思.”).7 The visual contrast of the formal dining banquet halls against the fast food eateries and Chu’s statement here serve as further examples of the struggles that come with accepting modernization. Within these images, Ang Lee implies that convenience has brought on a decline in quality in Taiwanese society. Furthermore, another significant aspect with which Lee explores the issue of modernity versus tradition and its relation to the definition of success is as it is displayed within the familial dynamic of the members of the Chu household. In “Negotiating harmony: Women, work and family in Taiwan”, Jocelyn DeHaas outlines the typical Taiwanese family dynamic in her study of 1990’s Taiwanese women and their definitions of success as well as their individual attempts 7 Eat Drink Man Woman. 1994. Directed by Ang Lee. Performed by Sihung Lung. Taipei: Ang Lee Productions, Central Motion Pictures, Good Machine. DVD. 1:34:50. Weaver 8 to achieve it. Similar to way in which the Chu family unit functions in Eat Drink Man Woman, DeHaas finds that: It is important to remember, as well, that harmony does not arise naturally, sui generis, from the family in Taiwan; it is an ideal toward which people work, a constraint, and a tool for manipulation… The women I interviewed wanted their parents, husbands, or in- laws to support their ideas and their behaviors. They were not becoming autonomous selves with class consciousness or even necessarily gender consciousness; their identity remained embedded in their families. This was the context in which they operated.8 Such is the case for the Chu family. In various instances throughout the film, As Mr. Chu and his three daughters go about their daily lives—personal and professional obligations blend together and it negatively affects their familial relationships. Each struggles to find a balance between person and professional success while living stifled and suppressed beneath the pressures that come with its societal gender-stereotypical definition. Likewise, another demonstration Lee makes towards the theme of change takes place near the end of the film as Chu inspects his old house and what Jia-Chien has done with it in everyone's absence.9 These scenes are depicted below, in figures 3 and 4. 8 DeHaas, Jocelyn H. 2006. “Negotiating Harmony: Women, Work and Family in Taiwan.” Ph.D., United States -- New Mexico: The University of New Mexico. 9 Eat Drink Man Woman. 1994. Directed by Ang Lee. Performed by Sihung Lung. Taipei: Ang Lee Productions, Central Motion Pictures, Good Machine. DVD. 1:57:00.