In Crouching Tiger, Hidden Dragon, impost oppresses individuals and their races, until now it also empowers. Jen is oppressed by the marge of impost, and her traditionalistic federal agency as a young-bearing(prenominal) oppresses her relationship with Lo. Li Mu Bai, however, is empowered by the guidance of tradition. Ang lee side(prenominal) uses film techniques to pass on this dual affect. Tradition cleaves Jen from her fighting talents. Jens p arents force her to marry, unless have no parental role; lee restricts their front man in the film, and so isolates the tradition they carry. accordingly Lee conveys that tradition oppresses Jen because it is an dehumanized law passed by unhuman parents. Further, Lee contrasts Jens demeanour as a fighter with her behaviour at her parents home, a theme of tradition. The homes silent rooms, plain walls, and the with child(p) servants clothing are symbols of Jens curb future, for Jen is no fighter at home--she writes calligraphy and drinks tea. Lee captures much(prenominal) contrast to suggest that tradition oppresses Jen because it confines her. moreover Jen breaks these confines: in fundament of her family, she adopts run down Fox as her engender and Shu Lin as her sister, in place of her home, she escapes to the desert with Lo. In the enormous red and orange desert, where at that place are no confines, Jen fights; her flying-style suggests Jen is defying the sobriety of tradition.
In the love scene, Lo removes Jens heaviness when he removes her traditional clothing, the open skin symbolises Jens freedom, her true gaiety. She also lets her sensory tomentum cerebri out and wears Los clothing, symbolic of her throwing away of tradition. Hence Lee uses the lot in Jens character, in her ending to reject tradition, as a means of highlighting the finale of her oppression at home. The maidenlike nightspot of tradition becomes a barrier between... If you want to muss a full essay, order it on our website: Ordercustompaper.com
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