Chinese Culture and Political Police in China in the Movies Joy Luck Essay

Chinese Culture and Political Police in China in the Movies Joy Luck Club and Not One Less - Essay Example These films mainly about China, driven by means of the modernity’s blinding light, while, at the same time, no longer acknowledging its own children, in addition to its primitive past. In Joy Luck Club by Amy Tan, there are four mothers, four daughters and four families whose histories change with the four winds according to the person narrating the stories. During 1949, four Chinese women, who happened to be recent immigrants to San Francisco, started meeting while eating dim sum, playing mahjong, and talking. Joy Luck Club is the name this group united by shared unspeakable loss, as well as hope, they referred to themselves. Instead of allowing themselves to sink in tragedy, they opt to gather by raising not only their spirits, but also money. Forty years down the line, the stories, as well as history persist (Tan 56). Amy Tan explores the sometimes painful, in most cases tender while always deep link between mothers and daughters with wit, as well as sensitivity. As every w oman exposes her secrets, attempting to unravel the truth concerning her life, the strings end up getting extensively tangled, while, at the same time extremely entwined. Apparently, mothers boast or despair over daughters, while daughters roll their eyes although they feel the inextricable tapering of their matriarchal ties. Amy happens to be an astute storyteller, who entices her readers into immersing themselves to these lives of complexity, as well as mystery. In Not One Less, Wei Minzhi who is a representative of an agrarian society, with all her backwardness, together with naivete, exemplifies the humanity that gets rejected by modern man pursuing an industrial civilization. Wei Minzhi is the replacement teacher of 13-years who is bigger than life; although she seems to be primitive, uncouth, silly, as well as immature; she happens to be China’s self-depiction as a third-world country along with a tenacity to modernize when she begins going to the city by foot thereby f inding her student, an act that is foolish yet heroic (Ebert 21). She turns out to be an expediently dumping ground for the pessimistic human emotions of the perfectly educated, which lecture her on rules, as well as etiquettes; with her solid resolution of letting no one be absent from her class, she exemplifies a spirit of the people on a pursuit for equitable growth, along with a more democratic society. She turns out to be a representation of China's resolve of being strong while catching up with the other part of the world. She happens to be courageous since she has a group of children behind her; to the point she is in control, they are capable of accomplishing things like moving numerous bricks to coming up with some money for her to purchasing a bus ticket. This means that, in Shui Quan elementary, there happens to be socialism still at work whereby people tend to share things such as coke while doing things within a collective manner; Wei Minzhi's courage, together with per sonal dignity lie on the continuation of this community. Wei Minzhi encounters the urbanites in the vast metropolis are a symbol of the â€Å"adult† world whereby Minzhi, together with Huike have a lot to learn as â€Å"children†; yet these city folks have suspicious morals: informed but uncaring, urbane but indifferent, wealthy but miserable; the ticket conductor tosses Minzhi out of the bus for not purchasing a ticket with the policeman guarding the television station’