Center
7.1
Buddha's Palm
(1982)
Political: Center
Diversity: Moderate
Female Combat: Yes
Leung Shan-Pak's Second Meeting With Chuk Ying-Toi (1952)
Bias Rating
Analyzing...
Progressive
Viewer Rating
Not Rated
Overview
A Hong Kong Cantonese film released in September 1952
Starring Cast
Bias Dimensions
Political: Strong Left
Diversity: High
LGBTQ: Positive
Overview
A Hong Kong Cantonese film released in September 1952
Starring Cast
Detailed Bias Analysis
Analyzing...
Progressive
Primary
The film's central thesis explicitly critiques traditional societal structures, particularly arranged marriage and patriarchal gender roles, by championing individual freedom and love against systemic oppression, aligning it with progressive ideology.
The film features casting consistent with its traditional Chinese source material. The narrative prominently explores themes of gender roles and societal expectations, particularly through its depiction of a female character challenging established norms and the impact of patriarchal structures on individual agency.
Secondary
The film portrays a deep and respectful bond between Liang Shanbo and Zhu Yingtai, who is disguised as a man. Liang Shanbo's love for 'him' is depicted with dignity, and the tragedy stems from external societal pressures rather than the nature of their initial same-sex-perceived attraction. This affirms the worth of love that transcends perceived gender.
This film, a 1952 German documentary short about woodcarving, does not feature any identifiable transsexual characters or themes. Therefore, it falls under the 'No depiction' category, resulting in an N/A rating for its portrayal of transsexual identity.
The movie does not contain any action or adventure elements.
The film adapts the classic Chinese legend where Zhu Yingtai, a female character, disguises herself as a male student. This portrayal aligns with her canonical gender and the in-plot disguise does not constitute a gender swap as per the definition.
The film is an adaptation of a classic Chinese folk tale. The characters, canonically Chinese, were portrayed by Chinese actors in this 1952 Hong Kong production, aligning with their established race.
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