Yonggang ‘s “Fallen Woman” in the Social Injustice of Prostitution in "The Goddess" This film review will analyze Wu Yonggang’s “fallen woman” in the characterization of the nameless prostitute (Ruan Lingyu) in the social injustice of prostitution in The Goddess (1934). By examining the various gestures and movements of the prostitute within the context of the silent film, actress Lingyu provides the physical characterization of the fallen woman” as a the epitome of Yonggang ‘s directorial commentary on the injustice of prostitution in Chinese society. By examining the patriarchal barrier that make this possible in a woman’s struggle to educate hers son, Shuiping, the film defines her restricted identity through patriarchal commoditization...The end:
.....and through sultry feminine movements to elicit the tragic double life of a prostitute within the silent film medium. In these ways, the gestures and movements of the “fallen woman” in Yonggang’s The Goddess define the social injustice of prostitution in the characterization of the single mother in Ruan Lingyu’s acting style. Works Cited: Hansen, Miriam Bratu. Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film As Vernacular Modernism. Film Quarterly, Vol. 54, No. 1 (Autumn, 2000), pp. 10-22. Ni, Zhen. Memoirs from the Beijing Film Academy: The Genesis of China’s Fifth Generation. Durham, NC: Duke University Press, 2002. The Goddess. Dir. Wu Yonggang. Perfs. Ruan Lingyu. China: Guangzhou Beauty Culture Communication Co.Ltd, 1934.