The real devil in Chen Kaige’s farewell my concubine and Francois Girard the red violin by Sng, Min Yee

“…In this paper I will be analyzing the films Farewell My Concubine directed by Chen Kaige and The Red Violin directed by Francois Girard respectively with the help of secondary sources such as Shiela A. …”
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四面楚歌下的同志再现：李碧华和陈凯歌对《霸王别姬》的改写 = Representations of the besieged “Comrade” : Li Bihua's and Chen Kaige's adaptations of the Peking Opera “Farewell My Concubine” by 許维贤 Hee, Wai Siam

“…In the process, Farewell My Concubine has pitted the nationalist discourse against the non-official ones, with the former often to overwhelm the latter as a result. LiBihua’s and ChenKaige’s adaptations bring in a new round of negotiations and ruse games, in which the nationalist-masculine narcissism and attachment mechanism exert a subtle but significant pull. …”
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(Re)appropriating the oriental stereotype in Sopyonje and farewell my concubine by Han, Natalie Su-Yin

“…In this paper, I am concerned with the self-representation of the female body in the mould of the Oriental stereotype in the films: Sopyonje (Im Kwon-taek 1993) and Farewell My Concubine (Chen Kaige 1993). Widely recognized as quintessential productions of their respective national cinemas, ie., South Korea and Mainland China, both films have gained notable acclamation in both the domestic and international arena. …”
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Religion in cinema : Buddhism and Taoism in popular films through a jungian lens by Low, Yuen Wei

“…Textual analysis through a Jungian perspective is carried out on Crouching Tiger, Hidden Dragon (2000) directed by Ang Lee, The Karate Kid (2010) directed by Harald Zwart, The Promise (2005) directed by Chen Kaige, Seven Years in Tibet (1997) directed by Jean-Jacques Annaud, and Hero (2002) directed by Zhang Yimou. …”
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