From Archetypal Motifs of Cinderella’s Glass Slippers and Round Images to Vagina Monologues: Parler-Femme in Taste of Life, Forêt Debussy, Twin Bracelets, Raise the Red Lantern, Old Well, Tuya's Marriage, and I Am Not Madame Bovary
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At the beginning of Taste of Life, the female protagonist, Liu Fenfang (劉芬芳), has a quarrel with her husband because of his extramarital love affairs, runs out of the door of their house, and breaks her high heels. This cinematic scene metaphorically echoes the archetypal motif of Cinderella’s glass slippers. Analysts point out that Cinderella’s shoes are originally fur shoes in chilly weather but story-tellers replace fur shoes with glass slippers because slippers, round images of holes, or metaphors of circles allegorically refer to the metaphor of women’s sexual organs and glass indicates Cinderella’s purity or virginity. If the story plot of Taste of Life begins with the archetypal motif of Cinderella’s glass slippers while the glass slippers symbolize vagina, the film may be deemed a Chinese-language cinematic version of the female protagonist Liu Fenfang’s own vagina monologue. Forêt Debussy, Twin Bracelets, Raise the Red Lantern, and I Am Not Madame Bovary are also full of metaphors of circles and round images of holes. They focus on female protagonists’ life stories; therefore, they may also be considered as Chinese-language emblematic editions of female protagonists’ own vagina monologues. This article aims to highlight the archetypal motif of Cinderella’s glass slippers, round images of metaphorical circles, and vagina monologues in Taste of Life, Forêt Debussy, Twin Bracelets, Raise the Red Lantern, and I Am Not Madame Bovary.
Abstract
At the beginning of Taste of Life, the female protagonist, Liu Fenfang (劉芬芳), has a quarrel with her husband because of his extramarital love affairs, runs out of the door of their house, and breaks her high heels. This cinematic scene metaphorically echoes the archetypal motif of Cinderella’s glass slippers. Analysts point out that Cinderella’s shoes are originally fur shoes in chilly weather but story-tellers replace fur shoes with glass slippers because slippers, round images of holes, or metaphors of circles allegorically refer to the metaphor of women’s sexual organs and glass indicates Cinderella’s purity or virginity. If the story plot of Taste of Life begins with the archetypal motif of Cinderella’s glass slippers while the glass slippers symbolize vagina, the film may be deemed a Chinese-language cinematic version of the female protagonist Liu Fenfang’s own vagina monologue. Forêt Debussy, Twin Bracelets, Raise the Red Lantern, and I Am Not Madame Bovary are also full of metaphors of circles and round images of holes. They focus on female protagonists’ life stories; therefore, they may also be considered as Chinese-language emblematic editions of female protagonists’ own vagina monologues. This article aims to highlight the archetypal motif of Cinderella’s glass slippers, round images of metaphorical circles, and vagina monologues in Taste of Life, Forêt Debussy, Twin Bracelets, Raise the Red Lantern, and I Am Not Madame Bovary.
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