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Journal of Education, Humanities and Social Sciences
SSMI 2023
Volume 14 (2023)
310
Exploring Heroic Characters in Red Chinese Movies: A
Multimodal Perspective
Yifei Wang a, Limin Li b
School of Foreign Studies, Northwestern Polytechnical University, Shaanxi 710072, China
a elainewong@mail.nwpu.edu.cn, b llm2017@nwpu.edu.cn
Abstract. Red Chinese movies depict heroic individuals who make significant contributions to the
nation, and these films play a vital role in constructing the national image of new China. This paper
explores the images of heroic individuals in red Chinese movies using multimodal action theory. The
findings indicate that these individuals are characterized by their selfless sacrifices for their country,
fearless perseverance, embodiment of international communist ideals, and unwavering devotion and
warmth. The study also reveals that facial expressions, body movements, and language serve as
critical mediational means in shaping these characters, while other forms of mediation are
underutilized. Recommendations include employing more mediational means to create more
nuanced and complex characters in future red Chinese movies.
Keywords: Multimodal action theory; Chinese image; Red movies.
1. Introduction
Red Chinese movies have gained recognition for their portrayal of heroic Chinese individuals who
embody revolutionary spirit and contribute to China's development and prosperity. However, while
narrative context, virtual-real relationship, and aesthetic innovation theory are commonly employed
by scholars to analyze red movies[20,22], minimal attention has been given to the characterization of
the heroic figures depicted in these films. Moreover, the study of images of people in Chinese studies
seldom utilizes multimodal action theory - a three-dimensional approach that examines characters
through their various mediational means. This stands in contrast to Western scholarship, where it is
widely used[1,2,3,4,5,6,7,8,9,12,13,14].
This paper focuses on four red Chinese movies - My Early Days in France(2004), The Eternal
Wave(1958), The Taking of Tiger Mountain(2014), and Tunnel Warfare(1965) - which depict
China's foundation from 1912 to 1949. The study examines the heroic Chinese characters portrayed
in these films, including the Communist Party of China, the People's Liberation Army, and the
Chinese Militia, by selecting four individuals and one group. The analysis employs multimodal action
theory, along with different mediational means such as facial expression, body movement, and
language to reveal the images of these characters. Through this study, it is suggested that the red
movies should incorporate more mediational means to create three-dimensional and well-rounded
heroic characters.
2. Conceptualizing Multimodal Action Theory
Mode refers to the channel and medium through which the speaker communicates with things [24].
The mediated action theory is developed by Vygotsky[11],Wertsch[10], Scollon[15], and Norris[16].
Mediated action is social actors acting with/through mediational means/cultural tools, and social
actors can be people or animal [18]. Mediational means are the aspects of the environment, objects,
language, numeracy, and even body parts when used by social actors in action or interaction [15],
they are the things needed to perform the action [18]. Meanwhile, the mediated action is delineated
into three units of analysis as the lower-level, the higher-level, and frozen mediated action [16]. The
lower-level mediated action is a mode’s smallest meaning unit such as a step for the mode of walking,
an utterance for the mode of spoken language, or the sniff for the mode of smell [19], A higher-level
action is always made up of an abundance of chained lower-level actions [16,17].
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3. The Images of Chinese Heroic People in Red Films
To investigate the representations of Chinese heroic figures, this study analyzes five individuals
and one group from four films through the lens of the multimodal action theory of social actors and
mediational means. Specifically, the chosen characters are Deng Xixian and Zhou Enlai - members
of the "Young Communists in Europe" who study abroad and later help construct China, Li Xia - a
telegraph operator who covertly transmittes intelligence for the party, Yang Zirong and Bai Ru -
members of the Chinese People's Liberation Army who valiantly fight against bandits to safeguard
people's lives in Northeast China, and the Chinese Militia who successfully engage in military
skirmishes with the Japanese army by utilizing underground tunnels. Despite their differing
affiliations, these figures share several common traits portrayed throughout their respective depictions.
Table 1. Analyzed five people and one group in four films
Type
Representatives
Movie
Communist Party of China
Deng Xixian, Zhou Enlai
My Early Days in France
Li Xia
The Eternal Wave
Chinese People’s Liberation Army
Yang Zirong; Bai Ru
The Taking of Tiger Mountain
Chinese Militia
Chinese Militia
Tunnel Warfare
3.1 Sacrifice One’s Interest to Serve the Country
In order to leave for France to study, Deng Xixian departs with his parents. Here the analysis of
the scene.
Table 2. Scene Analysis
Time
Shooting scale
Social actors
Mediated actions
06:48-07:27
Close shot, medium
shot, long shot
Mother
holding Deng Xixian's hand, touching
Deng's head, going down the steps, crying
07:27-07:33
Close shot, medium shot
Mother, father
bowing one's head and Sobing
07:33-07:36
Medium shot
Deng Xixian
crying
07:36-07:40
Medium shot
Mother, father
looking back, crying, going up the steps
07:40-08:14
Close shot, medium
shot, long shot
Deng Xixian
going down the steps, constantly looking
back, crying
Several mediated actions are performed by three social actors, Deng Xixian and his parents, each
of the action can been categorized as a lower-level mediated action. By combing them together, a
higher-level mediated action of Deng and his parents’ farewell is accomplished. Meanwhile, the
action is accomplished with the help of various mediational means, including the environment (the
setting of the scene), the gaze (Deng and his parents looking at each other), the body (holding Deng’s
hand, touching his head, looking back, etc.), and the facial expression (crying) etc. Clearly, it is not
difficult to see that it is the various mediational means, as the smallest unit of mode, that forms up
the mediated action.
We can have a clear understanding of the characteristic of Deng by analyzing of his mediated
actions, especially through the mediational means. Here, the scene is set in Deng Xixian's hometown
on the road leading to the doc, which is alluding to the separation between Deng and his parents. The
camera cuts between Deng Xixian and his parents. Deng's sadness to part from his parents is vividly
depicted through his lower-mediated action of constantly looking back and crying. With red eyes and
sobs (facial expression), he receives the shoes made by her mom(body movement). Meanwhile, the
depiction of the social actors of Deng’s parents and their lower-level mediated action (holding Deng's
hand, touching Deng's head, going down the steps, cry) adds the distress to the atmosphere.
The film also includes Deng's monologue (the mediational means of language): "More than half a
century has passed, but I have never been back to my hometown to see my mother and father."
Bearing the responsibility for learning and a pure desire to serve his country, Deng has to embark
on a journey to France, he has to put aside his love and affection and devote himself to a broader and
greater cause. Undoubtedly, this is not only Deng's own idea, but also the true experience of a group
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of young Communist students in Europe who have given up a relatively comfortable and stable life,
far from their familiar homeland, and endure back-to-back unexpected tests, in order to continue
learning advanced Western ideas, thus applying them into Chinese practice.
3.2 Not Afraid of Suffering
Young European tourists to France are faced with many difficulties. On the one hand, they are in
poor economic conditions, some of them even have to live on the street; On the other hand, the
revolutionary ideas they advocate are frequently under siege from other parties. But the hardships are
not enough to hinder their progress. In the face of siege by other parties, they argue with them with
iron teeth; In the face of dire economic conditions, they continue to carry out revolutionary
movements.
When Beiyang Government borrows money from the French government to fight the civil war,
the Young Communists in Europe make speeches urging the Chinese Ambassador to France to stop
this humiliating behavior. In the film, Zhou Enlai stands in the center of the conference hall and
strongly criticizes Beiyang government's ignorance in passionate tone, through which his deep anger
can be felt visually and audibly.
Table 3. Shooting Scale
Time
Shooting
scale
Social
actor
Mediated actions
47:30-47:38
Medium
shot
Zhou Enlai
Giving speeches, walking around the stage, swinging his arms
47:38-47:50
Deng Xixian siting down
47:50-48:05
Medium
shot
Zhou Enlai
Speaking, walking, looking around, frowning
The camera uses a medium shot in order to show the body language (mediational means) of Zhou.
Also, with his other mediational means of language, and facial expression, he expresses his firm
revolutionary will to fight against the Beiyang Government and the ambassador to the end. Zhou
speaks in a firm tone as if he knew he would succeed. What’s more, he makes a speech with body
language including walking around constantly and swinging his arm to intensify his emotion. He
frowns when angry, and has frequent eye contact with the audience. Finally, he successfully urges
the French minister to stop disgracing the country and makes great contributions to the revolutionary
movement.
They also actively write the "Youth" magazine, spreading the revolutionary fire in foreign
countries. The film shows Deng (social actor) in close-up with his various lower-level mediated
actions of carefully spreading out the wax paper (mediational means of body movement), frowning
and gazing at the paper (mediational means of facial expression), inscribing, wiping sweat, and
recollecting (mediational means of memory). All of these lower-level mediated actions, each one of
which is mediated in multiple ways, are part of the higher-level mediated action of Deng’s writing.
Here, Deng determines to write the magazine with the dim light in a study room to share his
experience in France, he carefully spreads out the wax paper. Perhaps because he is really eager to
share his knowledge, it takes him great strength to inscribe the characters while continuing to wipe
the sweat. All his experiences, including the suffer of the French lower-class people, especially his
friend Michel, and his parents’ send-off for him when leaving China both comes to his mind. The
more he thinks of his comrades’ suffer and his parents’ expectation, the more firmly he write.
Therefore, Deng, as a social actor, his determination and perseverance are manifested through the
mediational means including body, thoughts, and memory. Deng stays up all night to write the
newspaper, but the next morning he works tirelessly to send his new paper around Paris with a smile
of pleasure and satisfaction on his face. This is the joy and happiness of the revolutionaries, who has
given everything to their cause.
Li Xia, a Communist Party member, lurks in the enemy territory to help the intelligence
transmission for the party. Li’s unyieldingness is manifested through the comparison between Yao
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Wei, a Kuomintang member who also lurks here, and him (two social actors) from their mediational
means of facial expression and language.
Both Li and Yao are on the rack because of their enemies’ suspects. We can tell from Yao’s face
that he is nervous and in a strong fear of the excruciation. Soon, he discloses the secret of
Kuomingtang to the spy for Japan. Whereas, Li remains firm all the time, he grits his teeth to
overcome the unimaginable pain of the excruciation (mediational means of facial expression), having
a taunt face to cover his pain, and the only words he throws is “I will say nothing” (mediational means
of language). Li’s unyieldingness is shown through his language and facial expression, and we can
feel his determination and his loyalty to the party.
3.3 Spirit of International Communism
The heroic Chinese people also embody the spirit of international communism, that They concern
not only about the lower class of Chinese people, but also the working class of France. Deng Xixian
meets Michel, a French worker, in France. He lives in poverty and is oppressed by the upper-class in
France, and his daughter is unemployed. At the end of the film, Deng sits on the train to Moscow and
sees Michelle, who drags a heavy luggage cart as his work to make money with legs lameness. The
film gives a long close-up of Deng’s (social actor) response, including his gaze and facial expression
(mediational means). His gazing at Michel remains a long period with grief and sympathy. He doesn’t
have any other mediational means except for the facial expression of gaze, because he is totally
shocked by the situation of Michel. He realizes that not only do the proletariat in China faces the
oppression and exploitation by the bourgeoisie, but also do the proletariat in France. Therefore, he
finds it necessary to carry out the revolutionary movement and spread the revolutionary spirit not
only in China, but also all over the world. Thus, his universal fraternity is depicted.
Deng Xixian, as well as other young Communists in Europe who go to France, standing together
with Michel in their struggle for the proletariat of the world, and they are committed to spreading the
fire of revolution to all parts of the world. This willingness to help the world in times of poverty must
be a true reflection of the early Communists.
3.4 Earnest and Devoted
In order to transmit the telegrams, Li Xia endures unimaginable hardships with perseverance, even
forget sleeping and eating. When the Japanese spy have suspected Li as a communist, Li immediately
asks his wife to leave, whereas, continue to send the telegram to Yan’an, the center of China’s
communism, himself without taking any dangers into consideration. The chart illustrates the relevant
scenario.
Table 4. Scene Introduction
Time
Shooting scale
Social actors
Mediated action
01:46:48-01:45:52
Close-up
Li Xia
Saying: "This is the command of the
party", looking at his wife frimly
01:45:52-01:47:07
Close shot, medium
shot, long shot
Li Wife
Solemn expression, tearful eyes, turning
away, looking back at Li Xia, closing the
door
01:47:07-01:47:12
Close-up, medium
vista, panorama
Li Xia
Bowing his head, typing the telegram
01:47:12-01:47:29
Telegram received from Yan 'an
01:47:29-01:47:33
The special agents of Japan set out to arrest Li Xia
01:47:33-01:47:34
Close-up
Li Xia
Reading notes and typing telegrams
01:46:34-01:45:38
Yan’an finishes receiving the first telegram
01:45:38-01:47:51
The special agents of Japan arrive downstairs at Li Xia’s home
01:47:51-01:48:25
Close shot, medium
shot
Li Xia
Tapping the telegraph,
turning to look at the door
01:45:26
Li Xia is captured
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We can analyze of Li Xia’s characteristic through the shooting scale and the mediational means.
In terms of the mediational means of Li’s body movement, he continues to reading the notes and
typing the telegram, even he knows that the Japanese spy is coming to capture him. In terms of his
facial expression, he looks at his wife firmly when she wants him to stop typing and leave the place
to avoid the capture. In terms of language, he says “this is the command of the party” to show his
determination that he will not leave. The mediated action with all these mediational means help build
the characteristic of Li, showing his devotion and determination to carry out his mission and his
everlasting earnest when facing the danger. Li is finally captured, yet he types a line in the telegraph:
bye, comrades, I miss you! His devotion is depicted through his moving words.
3.5 Smart and Brave
In the face of repeated successful incursions by the bandits, the Chinese Liberation Army's defense
is in trouble. In time, Yang Zirong volunteers to infiltrate the enemy by disguising himself as a bandit.
However, not long after Yang’s set out to the bandit, he encounters a fierce monster -- a tiger. Yang
and the tiger fight to the death: Yang climbs a tree, but the tiger chases him. Yang falls down the tree
and the tiger purses after him. All in three minutes, through the use of CGI [23] the continuous
transformation of the scene (trees, snow), the constant switching of the camera (the tiger's ferocity
and Yang's calm but firm expression of mediational action), the tiger's louder and louder roar, and
the faster and faster soundtrack create a fierce and tense atmosphere, which can not help but make
the audience feel nervous for Yang. In the end, Yang successfully shoots the tiger to death, which
deeply scares the image of his indomitable courage into the audience's mind. At this point, the film
also reaches its climax.
As I have stated, the mediated action is the combination of the social actor and the mediational
means. Clearly, this scene is formed up with the interaction of the mediated action of the two social
actors, namely Yang and the tiger. They chase after each other, and have their own facial expression
and body movement, that the tiger is feral, while Yang is brave and calm. Meanwhile, both of them
are vigorous and are in a rapid change of their posture in the chasing competitionn, attack the enemy.
It is not difficult to conclude that each unit of their chasing can be considered as a lower-level
mediated action, and they together form up the higher-level mediated action of the whole process of
the chasing. The frequent interaction of the tiger and Yang’s lower-level mediated action provide the
sense of intension for the audience, therefore, the ultimate success of Yang’ conquer of the tiger is of
great extent to manifest his bravery.
The militia is also brave. In the portrayal of the militia, the film focuses on the scene where they
work together to dig the tunnel (mediational means of body movement). The film uses a montage of
their efforts to resist the Japanese aggression: they light up the lamps and boil the oil, and discuss
together how to defeat the enemy (mediational means of language); They lie underground, plant
landmines and sing “The people's war is the invincible power, their unity, with the unique wisdom to
join forces against the Japanese is invincible power” (mediational means of language). In the end, the
militia finally usher in the victory of the war of resistance against Japanese aggression, they sing
again: “If the aggressor dares to come, we will fight together. If the aggressors dare to come, we will
march on all sides” (mediational means of language). The militia carry half the sky in the war of
Resistance against Japanese Aggression.
3.6 Warm and Thoughtful
Among the Chinese Liberation Army, there are not only brave soldiers who are good at fighting,
but also warm and thoughtful, which is mainly reflected in the health worker Bai Ru. In the attack
againt the bandits, Bai Ru always guards around the wounded and carefully rescues them. She is
meticulous, full of female tenderness and consideration. Bai is fully manifested by the mediational
means of her language and body movement. When bandits attack the village with their powerful
weapons, Xiao Shuanzi, a young boy who loses his parents, is in immense fear. Bai holds Xiao
Shuanzi in her arms firmly and says to him, "Don't be afraid. We are here!" This is a woman's
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motherly tenderness, thoughtfulness and care. From Bai Ru, the audience feels the maternity of a
revolutionary soldier.
4. Conclusion
In light of multimodal action theory, this paper analyzes how red Chinese movies shape the images
of the Communist Party of China, the People's Liberation Army, and the Chinese Militia. The study
reveals that these characters are characterized by their selfless sacrifice for the country, unwavering
perseverance, embodiment of international communist ideals, and deep devotion and warmth. These
traits compose the prototype of the images of the people of New China, and they are portrayed through
the mediational means of language, facial expression, and body movement employed by the social
actors. However, the mediational means of memory, emotion, body, umwelt, and culture are
underutilized, particularly the use of thought as a means to convey social actors' struggles and
contradictions. As a result, the heroic images portrayed in the movies appear overly perfect and
unrealistic. Therefore, it is recommended that future red movies adopt more mediational means to
create characters with more three-dimensional and realistic characteristics.
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