Films are one of the methods of cultural exchange. Writing the script including the writers’ minds. They may follow a traditional culture of that space or bind with other culture. In Chinese history, the marriage is depend on the parents’ opinions. There is no free love. But in Labourer’s love, the doctor’s daughter and vendor falling in love. Vendor want doctor to agree the marriage of them. But doctor did not allow. There is two type of love here. Female should marry with Male. It is also a traditional idea. However, in this modern world, homosexual is also common. Even TV programme will include this type of love. Films could be a point to express opinions of both side and have a discussion. It is not just for entertainment but a deeper meaning inside.
Name: Ng Sing Yuet Moon
UID: 3036063670
Reference:
Zhang Z. (1999). Teahouse, Shadowplay, Bricolage: Laborer’s Love and the Question of Early Chinese Chinema. In Cinema and urban culture in Shanghai, 1922-1943 (pp. 27-50). Stanford University Press.
It is excellent that you opened a portal to view how film breaks through tradition/stereotype by analyzing Labourer’s Love. Teahouse in this film plays a great significance in promoting plot and communicating two characters of different genders and social classes. So, it is worth further discussion of how the teahouse serves as a spatial trope to facilitate this film since anchoring your reading response to architecture and space is crucial. Besides, I would suggest adding more analysis of filmic techniques, like lens movement, lighting, and set design, which will help to make your writing more solid and convincing.